AI Assistant Intellij

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

  • Recursive transition network

    Recursive transition network

    A recursive transition network ("RTN") is a graph theoretical schematic used to represent the rules of a context-free grammar. RTNs have application to programming languages, natural language and lexical analysis. Any sentence that is constructed according to the rules of an RTN is said to be "well-formed". The structural elements of a well-formed sentence may also be well-formed sentences by themselves, or they may be simpler structures. This is why RTNs are described as recursive. == Notes and references ==

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  • International Conference on Automated Planning and Scheduling

    International Conference on Automated Planning and Scheduling

    The International Conference on Automated Planning and Scheduling (ICAPS) is a leading international academic conference in automated planning and scheduling held annually for researchers and practitioners in planning and scheduling. ICAPS is supported by the National Science Foundation, the journal Artificial Intelligence, and other supporters. == The IPC and PDDL == ICAPS conducts the International Planning Competition (IPC), a competition scheduled every few years that empirically evaluates state-of-the-art planning systems on a collection of benchmark problems. The Planning Domain Definition Language (PDDL) was developed mainly to make the 1998/2000 International Planning Competition possible, and then evolved with each competition. PDDL is an attempt to standardize Artificial Intelligence (AI) planning languages. PDDL was first developed by Drew McDermott and his colleagues in 1998, inspired by STRIPS, ADL, and other sources. == History == The ICAPS conferences began in 2003 as a merge of two bi-annual conferences, the International Conference on Artificial Intelligence Planning and Scheduling (AIPS) and the European Conference on Planning (ECP). == List of events ==

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  • Painworth

    Painworth

    PainWorth is a justice, legal and insurance services application founded by Canadian entrepreneurs Mike Zouhri, Chris Trudel and Ryan Bencic. The application is a "robot lawyer" that uses artificial intelligence to automate personal injury claims for injury victims. It is currently available in Canada and the United States. PainWorth has been featured by several news outlets, including CTV, Global News, CBC, and has also been featured by the American Bar Association and LexisNexis for its role addressing social issues such as access to justice and other systemic issues in the legal and insurance industry. == Application == PainWorth began as a tool for calculating non-pecuniary damages for injury victims but has since expanded beyond a personal injury calculator to include features that help injury victims and business users with pecuniary damages, economic calculations, prescribed rates and providing informational guides to help navigate settlement negotiation, managing claims records and other issues encountered by self-represented litigants or claims managers. The platform makes use of automation to provide free user-guided calculations, steps and processes to successfully settle an injury claim. The application is supported by Microsoft Azure. == Personal Injury Calculator == PainWorth is the first service to use Artificial Intelligence to interpret case law in order to determine the value of pain and suffering incurred by specific injury types and injury severities. The cited case law is used as evidence and presented in statistical models to determine an accurate valuation compliant with the jurisdiction, regulatory rules and case complexities. == General Damages Calculator == PainWorth also offers a personal injury settlement calculator that assesses general damages based on specific case complexities and jurisdiction. The service takes into account medical complications and recovery in order to calculate the fair valuation. == Injury Settlement Platform == PainWorth insurance settlement platform facilitates a direct and automated way resolution center to settle cases for their assessed value without enduring the hardship of litigation. In 2021, Painworth won the title of World's Best Emerging Insurance Product for the development of this platform. == History == In 2019, Mike Zouhri was struck by a drunk driver which left him seriously injured and resulted in a lawsuit. Frustrated by the slow and expensive process, Zouhri went down to the law library and learned how to manage injury claims. After learning the process, he partnered lawyers and legal advisors to create an app to allow users to quickly settle their own injury claims fairly and accurately. Immediately after its launch, PainWorth quickly became widely used by thousands of users and gained significant media coverage. Global News reported that the bot had successfully helped people with more than $10 million in claims in only a few short months, all free of charge. In July 2020, PainWorth began raising concern over injustices and gender bias in the legal system. in Canadian courts.

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  • Akoma Ntoso

    Akoma Ntoso

    Akoma Ntoso (Architecture for Knowledge-Oriented Management of African Normative Texts using Open Standards and Ontologies, AKN) is an international technical standard for representing legal documents (executive, legislative, and judiciary) in a structured manner using a domain specific, legal XML vocabulary. The term akoma ntoso means "linked hearts" in the Akan language of West Africa. Akoma Ntoso is a legal document standard designed to serve as a basis for modern machine-readable and fully digital legislative and judicial processes. This is achieved by providing a coherent syntax and well-defined semantics to represent legal documents in a digital format. It is designed to be suitable as a common exchange format in all parliamentary, legal and judicial systems around the world. Taking advantage of the shared heritage present in all legal systems, Akoma Ntoso has been developed to have ample flexibility to respond to all the differences in texts, languages, and legal practices. Aiming to expand on certain common practices, the standard therefore has a broad scope. It includes a common extensible model for data (the document content) and metadata (such as bibliographic information and annotations). Specifically, as a common legal document standard for the interchange of legal documents it is designed to be highly flexible in its support of documents and functionalities, maintaining a large set of both structural and semantic building blocks (over 500 entities in version 3.0) for representing this wide variety of document types of virtually all legal traditions. It is extensible in order to allow for modifications to address the individual criteria of organizations or unique aspects of various legal practices and languages without sacrificing interoperability with other systems. Akoma Ntoso is as such part of a wider approach to developing open, non-proprietary technical standards for structuring legal documents and information under the name of Legal XML, which also includes formats and standards for, e.g., eContracts, eNotarization, electronic court filings, the technical representation of legal norms and rules (LegalRuleML) or technical standards for the interfaces of, e.g., litigant portal exchange platforms. Akoma Ntoso allows machine-driven processes to operate on the syntactic and semantic components of digital parliamentary, judicial and legislative documents, thus facilitating the development of high-quality information resources. It can substantially enhance the performance, accountability, quality and openness of parliamentary and legislative operations based on best practices and guidance through machine-assisted drafting and machine-assisted (legal) analysis. Embedded in the environment of the semantic web, it forms the basis for a heterogenous yet interoperable ecosystem, with which these tools can operate and communicate, as well as for future applications and use cases based on digital law or rule representation. == Definition == The Akoma Ntoso standard defines a set of machine readable electronic representations in XML format of the building blocks of parliamentary, legislative and judiciary documents. As official self-description, the standard (...) defines a set of simple, technology-neutral electronic representations of parliamentary, legislative and judiciary documents for e-services in a worldwide context and provides an enabling framework for the effective exchange of "machine readable" parliamentary, legislative and judiciary documents such as legislation, debate record, minutes, judgements, etc. Providing access to primary legal materials, parliamentary works and judiciaries documents is not just a matter of giving physical or on-line access to them. "Open access" requires the information to be described and classified in a uniform and organized way so that content is structured into meaningful elements that can be read and understood by software applications, so that the content is made "machine readable" and more sophisticated applications than on-screen display are made possible. The standard is composed of: an XML vocabulary that defines the mapping between the structure of legal documents and their equivalent in XML; specifications of an XML schema that defines the structure of legal documents in XML. They provide rich possibilities of description for several types of parliamentary, legislative and judiciary document, such as bills, acts and parliamentary records, judgments, or gazettes; a recommended naming convention for providing unique identifiers to legal sources based on FRBR model; a MIME type definition. == History and adoption == Akoma Ntoso started as an UNDESA project in 2004 within the initiative "Strengthening Parliaments' Information Systems in Africa". Its core vocabulary was created mostly by Monica Palmirani and Fabio Vitali, two professors from the Centre for Research in the History, Philosophy, and Sociology of Law and in Computer Science and Law (CIRSFID) of the University of Bologna. A first legislative text editor supporting Akoma Ntoso was developed in 2007 on the base of OpenOffice. In 2010 European Parliament developed an open source web-based application called AT4AM based on Akoma Ntoso for facilitating the production and the management of legislative amendments. Thanks to this project, the application of Akoma Ntoso could be extended to new type of documents (e.g. legislative proposal, transcript) and to other scenarios (e.g., multilingual translation process). Akoma Ntoso also was explicitly designed to be compliant with CEN Metalex, one of the other popular legal standards, which is used in the legislation.gov.uk. In 2012, the Akoma Ntoso specifications became the main working base for the activities of the LegalDocML Technical Committee within the LegalXML member section of OASIS. The "United States Legislative Markup" (USLM) schema for the United States Code (the US codified laws), developed in 2013, and the LexML Brasil XML schema for Brazilian legislative and judiciary documents, developed before, in 2008, were both designed to be consistent with Akoma Ntoso. The United States Library of Congress created the Markup of US Legislation in Akoma Ntoso challenge in July 2013 to create representations of selected US bills using the most recent Akoma Ntoso standard within a couple months for a $5000 prize, and the Legislative XML Data Mapping challenge in September 2013 to produce a data map for US bill XML and UK bill XML to the most recent Akoma Ntoso schema within a couple months for a $10000 prize. The National Archives of UK converted all the legislation in AKN in 2014. The availability of bulk legislation "moved the UK's ranking from fourth to first, in the 2014 Global Open Data Index, for legislation". The Senate of Italian Republic provides, since July 2016, all the bills in Akoma Ntoso as bulk in open data repository. The German Federal Ministry of the Interior started the project Elektronische Gesetzgebung ("Electronic Legislation") in 2015/2016 and published Version 1.0 of the German application profile "LegalDocML.de" in March 2020. The projects aim is to digitalize the entire legislative lifecycle from drafting to publication. Germany decided to adopt a model-driven development approach to creating and providing a subschema-based application profile in order to ensure interoperability among organizationally independent actors, each with their respective IT landscapes and tools. In this initial version LegalDocML.de covers draft bills in the form of laws, regulations and general administrative directives. As part of an ongoing development process, the standard could incrementally be expanded in future stages to include all relevant document types of parliamentary, legislative and promulgation processes and tools. The High-Level Committee on Management (HLCM), part of the United Nations System Chief Executives Board for Coordination, set up a Working Group on Document Standards that approved in April 2017 to adopt Akoma Ntoso as standard for modeling its documentation. Akoma Ntoso in its version 1.0 is finally adopted as OASIS standard in the frame of LegalDocML in August 2018.

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  • Contextual AI

    Contextual AI

    Contextual AI is an enterprise software company based in Mountain View, California. It develops a platform for building specialized Retrieval-Augmented Generation (RAG) agents for enterprise use. The company was founded in 2023 by Douwe Kiela and Amanpreet Singh, both former AI researchers at Facebook AI Research (FAIR) and Hugging Face. Douwe Kiela previously led the Meta research team that introduced the Retrieval-Augmented Generation (RAG) approach in 2020. Contextual AI focuses on enterprise generative AI applications using RAG 2.0 technology, with deployments primarily in the technology, banking, finance and media sectors. == History == In June 2023, Contextual AI announced it had raised $20 million in a seed funding round led by Bain Capital Ventures (BCV), with participation from Lightspeed Venture Partners, Greycroft, SV Angel, and several angel investors. In August 2024, the company raised $80 million in a Series A funding round led by Greycroft, with participation from previous investors including Bain Capital Ventures, Lightspeed, and Conviction Partners. The round also included new backers such as Bezos Expeditions, NVentures (Nvidia), HSBC Ventures, and Snowflake Ventures. == Features == Retrieval-Augmented Generation (RAG) is an artificial intelligence framework that integrates information retrieval with text generation to improve the performance of large language models (LLMs) on complex, knowledge-intensive tasks. It was introduced in 2020 by researchers at Meta AI, including Douwe Kiela, Patrick Lewis and others, in their paper Retrieval-Augmented Generation for Knowledge-Intensive NLP Tasks. RAG enables language models to access and incorporate external information, such as proprietary databases or real-time web content, at query time, instead of relying solely on pre-trained, internal, static knowledge. This architecture addresses common limitations of standard LLMs, including hallucination, outdated information, and lack of attribution to source materials. RAG systems retrieve relevant context through a variety of techniques - including vector search, keyword search, text-to-SQL - and feeds this context into the language model to generate responses. The approach improves factual accuracy, supports domain-specific customization, enables citation of sources, and allows for more updated information without retraining the model itself. General Availability. In January 2025, Contextual AI announced the general availability of its enterprise platform for building specialized RAG agents. Early adopters included Qualcomm, which used the platform for their Customer Engineering team needs. Grounded Language Model. In March 2025, the company introduced a Grounded Language Model (GLM) for factual accuracy in enterprise AI applications. Reranker. In March 2025, Contextual AI released an instruction-following reranker that allows users to influence the ranking of retrieved documents through natural language instructions, such as prioritizing recent files, specific formats, or content from designated sources. == Applications == Contextual AI's platform has been adopted across a range of industries, including finance, technology, media and professional services. Clients include Fortune 500 companies such as Qualcomm and HSBC.

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  • Ganimal

    Ganimal

    A ganimal, also commonly referred to as GANimal, is a hybrid animal created with generative artificial intelligence systems, such as generative adversarial networks (GANs) or diffusion models. The concept was created for a website from the MIT Media Lab in 2020, where users could create ganimal images. 78,210 ganimals were generated from hybrid pairs of animal labels from BigGAN (G1) and 3,058,362,945 ganimals generated from blending G1 ganimals. The term ganimal is a portmanteau between the words GAN and animal. It is typically used to refer to a hybrid animal generated by interpolating between distinct species; the term can also refer to any AI-generated creatures that have not been identified in reality. The ganimal concept is similar to Artbreeder, an online website for blending images with AI. == Meet the Ganimals == Meet the Ganimals was an online platform from the MIT Media Lab that allowed visitors to generate, blend and curate ganimals. By June 2020, 44,791 ganimals had been generated, 8,547 ganimals bred, and 743 ganimals named by a total of 10,657 users. The site also had an educational component where visitors could play with blending and learn about AI. == Evolution and ganimal morphology == Because ganimals exist within an attention economy and evolve based on human preferences, charismatic megafauna (e.g. ganimals with cute, dog-like morphologies) become the most popular. However, social cues can increase the diversity of the ganimals ecosystem and lead to the success of unconventional ganimals, such as those without eyes or that live underwater. == The Barracuda Effect == Although there is typically no human morphology used to synthesize ganimals, creepy humanoid characters would emerge whenever animals were bred with a barracuda. This occurs because many pictures on the internet of barracudas include a human holding the fish up as a prized catch. This highlights a cultural form of algorithmic bias embedded in the training data of AI systems. == In popular culture == Ganimals have appeared in the Artificial Intelligence exhibition at the Vienna Technical Museum. They also appeared in the Ties That Cannot Be Unbound virtual exhibition at New Art City.

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  • Serial Experiments Lain

    Serial Experiments Lain

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

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  • Eden: It's an Endless World!

    Eden: It's an Endless World!

    Eden: It's an Endless World!, also known simply as Eden (stylized in all caps), is a Japanese science fiction manga series written and illustrated by Hiroki Endo. It was serialized in Kodansha's seinen manga magazine Monthly Afternoon from September 1997 to June 2008, with its chapters collected in 18 tankōbon volumes. == Premise == The story is set in the near future, following the "closure virus" pandemic has killed 15 percent of the world's population, crippled or disfigured many more, with catastrophic effect on global politics. Its themes and many character names are taken from Gnostic mythology. == Plot == The series begins with a long introduction, with the characters Ennoia and Hannah living a peaceful life on a remote and isolated island called Eden, with researcher Lane Morris, who is their guardian and a victim of the pandemic. The events that led to this situation are revealed in flashbacks, leading up to the return of Ennoia's father, along with the forces of the Propater Federation. Following this, the story moves forwards twenty years, and focuses on Ennoia's son, Elijah, the main character, and his own conflict with the powerful and monopolistic Propater federation to save his sister, Mana Ballard, kidnapped by Propater when he was very young. She is being held to threaten Ennoia Ballard, father of the two characters, who has become a powerful drug lord in South America, feared and despised by many, including, to an extent, his own family. During a terrorist attack, Elijah, aged 15, is separated from his mother and his sister is kidnapped, along with his mother Hannah and now has to handle things on his own. Eden is about his coming-of-age as a man and trying to survive both bodily and morally in world that is too complex for mere "black and white". He encounters many other characters, both allies and enemies, all sharing the same struggle to survive in a post-apocalyptic dystopian world. Many stories are included of the people Elijah meets, telling their past or following life, sometimes volumes later, furthering understanding of the characters and giving increased depth to the world of the book as a whole. Later in the series, the story once again moves forwards in time, jumping four more years ahead. The Closure Virus, the cause of the original pandemic, mutates, this time assimilating non-organic matter as well as organic, known as "colloid" (or "Disclosure Virus"). The story rejoins Elijah, now 19 years old, as well as many other old characters, and some new, as the world begins to deal with this new threat that is swallowing many cities in the world, leaving lakes and craters, and many people. It is later discovered that the several colloids in the world, are linked with a net of underground auto-built "cables," and that the colloid itself, stores all the memories of the people it swallows. == Characters == Elijah Ballard (エリヤ・バラード, Eriya Barādo) Elijah is introduced while on the run from Propater. He becomes involved in his father's criminal activities, and undergoes a coming of age into adulthood. Ennoia Ballard (エンノイア・バラード, Ennoia Barādo) Elijah's father. Hannah Mayall (ハナ・メイオール, Hana Meiōru) Elijah's mother. Mana Ballard (マナ・バラード, Mana Barādo) Elijah's sister, who remains in Propater hands whilst her mother is rescued. Elijah's fight to free her is a focus of the later parts of the story. Nazarbaiev Khan (ナザルバイエフ・カーン, Nazarubaiefu Kān) Colonel Khan is an old soldier from Azerbaijan. He leads the Nomad group (including Kenji and Sophia) fleeing Propater at the start of the series. Khan became Kenji's mentor after killing his brother, and the two share a slightly strained, but at the same time, trusting, relationship. Sophia Theódores (ソフィア・テオドレス, Sofia Teodoresu) A powerful Greek computer hacker, and full-body cyborg. Maya (マーヤ, Māya) A nearly godlike AI, which seems to roughly correspond to the savior of Gnostic mythology. Kenji Asai (ケンジ・アサイ) The brother of a low-level yakuza boss. Helena Montoya (ヘレナ・モントーヤ, Herena Montōya) A prostitute now working in a brothel. Has a complex relationship with Elijah and acts as a surrogate big sister. == Media == === Manga === Eden: It's an Endless World! was written and illustrated by Hiroki Endo. The series ran in Kodansha's Monthly Afternoon magazine from September 25, 1997, to June 25, 2008. Kodansha collected its chapters into 18 tankōbon volumes, released from April 21, 1998, to July 23, 2008. In July 2005, Dark Horse Comics announced in San Diego Comic-Con that it has licensed Eden for North American distribution, with publication to begin in November of that year. As of March 2014, 14 volumes were released in total. ==== Volumes ==== == Reception == Eden was named Wizard magazine's best manga of 2007. In his review of another work by Hiroki Endo titled Hiroki Endo's Tanpenshu, David F. Smith of Newtype USA has called Eden one of the best manga American money can buy.

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  • Latent semantic analysis

    Latent semantic analysis

    Latent semantic analysis (LSA) is a technique in natural language processing, in particular distributional semantics, of analyzing relationships between a set of documents and the terms they contain by producing a set of concepts related to the documents and terms. LSA assumes that words that are close in meaning will occur in similar pieces of text (the distributional hypothesis). A matrix containing word counts per document (rows represent unique words and columns represent each document) is constructed from a large piece of text and a mathematical technique called singular value decomposition (SVD) is used to reduce the number of rows while preserving the similarity structure among columns. Documents are then compared by cosine similarity between any two columns. Values close to 1 represent very similar documents while values close to 0 represent very dissimilar documents. An information retrieval technique using latent semantic structure was patented in 1988 by Scott Deerwester, Susan Dumais, George Furnas, Richard Harshman, Thomas Landauer, Karen Lochbaum and Lynn Streeter. In the context of its application to information retrieval, it is sometimes called latent semantic indexing (LSI). == Overview == === Occurrence matrix === LSA can use a document-term matrix which describes the occurrences of terms in documents; it is a sparse matrix whose rows correspond to terms and whose columns correspond to documents. A typical example of the weighting of the elements of the matrix is tf-idf (term frequency–inverse document frequency): the weight of an element of the matrix is proportional to the number of times the terms appear in each document, where rare terms are upweighted to reflect their relative importance. This matrix is also common to standard semantic models, though it is not necessarily explicitly expressed as a matrix, since the mathematical properties of matrices are not always used. === Rank lowering === After the construction of the occurrence matrix, LSA finds a low-rank approximation to the term-document matrix. There could be various reasons for these approximations: The original term-document matrix is presumed too large for the computing resources; in this case, the approximated low rank matrix is interpreted as an approximation (a "least and necessary evil"). The original term-document matrix is presumed noisy: for example, anecdotal instances of terms are to be eliminated. From this point of view, the approximated matrix is interpreted as a de-noisified matrix (a better matrix than the original). The original term-document matrix is presumed overly sparse relative to the "true" term-document matrix. That is, the original matrix lists only the words actually in each document, whereas we might be interested in all words related to each document—generally a much larger set due to synonymy. The consequence of the rank lowering is that some dimensions are combined and depend on more than one term: {(car), (truck), (flower)} → {(1.3452 car + 0.2828 truck), (flower)} This mitigates the problem of identifying synonymy, as the rank lowering is expected to merge the dimensions associated with terms that have similar meanings. It also partially mitigates the problem with polysemy, since components of polysemous words that point in the "right" direction are added to the components of words that share a similar meaning. Conversely, components that point in other directions tend to either simply cancel out, or, at worst, to be smaller than components in the directions corresponding to the intended sense. === Derivation === Let X {\displaystyle X} be a matrix where element ( i , j ) {\displaystyle (i,j)} describes the occurrence of term i {\displaystyle i} in document j {\displaystyle j} (this can be, for example, the frequency). X {\displaystyle X} will look like this: d j ↓ t i T → [ x 1 , 1 … x 1 , j … x 1 , n ⋮ ⋱ ⋮ ⋱ ⋮ x i , 1 … x i , j … x i , n ⋮ ⋱ ⋮ ⋱ ⋮ x m , 1 … x m , j … x m , n ] {\displaystyle {\begin{matrix}&{\textbf {d}}_{j}\\&\downarrow \\{\textbf {t}}_{i}^{T}\rightarrow &{\begin{bmatrix}x_{1,1}&\dots &x_{1,j}&\dots &x_{1,n}\\\vdots &\ddots &\vdots &\ddots &\vdots \\x_{i,1}&\dots &x_{i,j}&\dots &x_{i,n}\\\vdots &\ddots &\vdots &\ddots &\vdots \\x_{m,1}&\dots &x_{m,j}&\dots &x_{m,n}\\\end{bmatrix}}\end{matrix}}} Now a row in this matrix will be a vector corresponding to a term, giving its relation to each document: t i T = [ x i , 1 … x i , j … x i , n ] {\displaystyle {\textbf {t}}_{i}^{T}={\begin{bmatrix}x_{i,1}&\dots &x_{i,j}&\dots &x_{i,n}\end{bmatrix}}} Likewise, a column in this matrix will be a vector corresponding to a document, giving its relation to each term: d j = [ x 1 , j ⋮ x i , j ⋮ x m , j ] {\displaystyle {\textbf {d}}_{j}={\begin{bmatrix}x_{1,j}\\\vdots \\x_{i,j}\\\vdots \\x_{m,j}\\\end{bmatrix}}} Now the dot product t i T t p {\displaystyle {\textbf {t}}_{i}^{T}{\textbf {t}}_{p}} between two term vectors gives the correlation between the terms over the set of documents. The matrix product X X T {\displaystyle XX^{T}} contains all these dot products. Element ( i , p ) {\displaystyle (i,p)} (which is equal to element ( p , i ) {\displaystyle (p,i)} ) contains the dot product t i T t p {\displaystyle {\textbf {t}}_{i}^{T}{\textbf {t}}_{p}} ( = t p T t i {\displaystyle ={\textbf {t}}_{p}^{T}{\textbf {t}}_{i}} ). Likewise, the matrix X T X {\displaystyle X^{T}X} contains the dot products between all the document vectors, giving their correlation over the terms: d j T d q = d q T d j {\displaystyle {\textbf {d}}_{j}^{T}{\textbf {d}}_{q}={\textbf {d}}_{q}^{T}{\textbf {d}}_{j}} . Now, from the theory of linear algebra, there exists a decomposition of X {\displaystyle X} such that U {\displaystyle U} and V {\displaystyle V} are orthogonal matrices and Σ {\displaystyle \Sigma } is a diagonal matrix. This is called a singular value decomposition (SVD): X = U Σ V T {\displaystyle {\begin{matrix}X=U\Sigma V^{T}\end{matrix}}} The matrix products giving us the term and document correlations then become X X T = ( U Σ V T ) ( U Σ V T ) T = ( U Σ V T ) ( V T T Σ T U T ) = U Σ V T V Σ T U T = U Σ Σ T U T X T X = ( U Σ V T ) T ( U Σ V T ) = ( V T T Σ T U T ) ( U Σ V T ) = V Σ T U T U Σ V T = V Σ T Σ V T {\displaystyle {\begin{matrix}XX^{T}&=&(U\Sigma V^{T})(U\Sigma V^{T})^{T}=(U\Sigma V^{T})(V^{T^{T}}\Sigma ^{T}U^{T})=U\Sigma V^{T}V\Sigma ^{T}U^{T}=U\Sigma \Sigma ^{T}U^{T}\\X^{T}X&=&(U\Sigma V^{T})^{T}(U\Sigma V^{T})=(V^{T^{T}}\Sigma ^{T}U^{T})(U\Sigma V^{T})=V\Sigma ^{T}U^{T}U\Sigma V^{T}=V\Sigma ^{T}\Sigma V^{T}\end{matrix}}} Since Σ Σ T {\displaystyle \Sigma \Sigma ^{T}} and Σ T Σ {\displaystyle \Sigma ^{T}\Sigma } are diagonal we see that U {\displaystyle U} must contain the eigenvectors of X X T {\displaystyle XX^{T}} , while V {\displaystyle V} must be the eigenvectors of X T X {\displaystyle X^{T}X} . Both products have the same non-zero eigenvalues, given by the non-zero entries of Σ Σ T {\displaystyle \Sigma \Sigma ^{T}} , or equally, by the non-zero entries of Σ T Σ {\displaystyle \Sigma ^{T}\Sigma } . Now the decomposition looks like this: X U Σ V T ( d j ) ( d ^ j ) ↓ ↓ ( t i T ) → [ x 1 , 1 … x 1 , j … x 1 , n ⋮ ⋱ ⋮ ⋱ ⋮ x i , 1 … x i , j … x i , n ⋮ ⋱ ⋮ ⋱ ⋮ x m , 1 … x m , j … x m , n ] = ( t ^ i T ) → [ [ u 1 ] … [ u l ] ] ⋅ [ σ 1 … 0 ⋮ ⋱ ⋮ 0 … σ l ] ⋅ [ [ v 1 ] ⋮ [ v l ] ] {\displaystyle {\begin{matrix}&X&&&U&&\Sigma &&V^{T}\\&({\textbf {d}}_{j})&&&&&&&({\hat {\textbf {d}}}_{j})\\&\downarrow &&&&&&&\downarrow \\({\textbf {t}}_{i}^{T})\rightarrow &{\begin{bmatrix}x_{1,1}&\dots &x_{1,j}&\dots &x_{1,n}\\\vdots &\ddots &\vdots &\ddots &\vdots \\x_{i,1}&\dots &x_{i,j}&\dots &x_{i,n}\\\vdots &\ddots &\vdots &\ddots &\vdots \\x_{m,1}&\dots &x_{m,j}&\dots &x_{m,n}\\\end{bmatrix}}&=&({\hat {\textbf {t}}}_{i}^{T})\rightarrow &{\begin{bmatrix}{\begin{bmatrix}\,\\\,\\{\textbf {u}}_{1}\\\,\\\,\end{bmatrix}}\dots {\begin{bmatrix}\,\\\,\\{\textbf {u}}_{l}\\\,\\\,\end{bmatrix}}\end{bmatrix}}&\cdot &{\begin{bmatrix}\sigma _{1}&\dots &0\\\vdots &\ddots &\vdots \\0&\dots &\sigma _{l}\\\end{bmatrix}}&\cdot &{\begin{bmatrix}{\begin{bmatrix}&&{\textbf {v}}_{1}&&\end{bmatrix}}\\\vdots \\{\begin{bmatrix}&&{\textbf {v}}_{l}&&\end{bmatrix}}\end{bmatrix}}\end{matrix}}} The values σ 1 , … , σ l {\displaystyle \sigma _{1},\dots ,\sigma _{l}} are called the singular values, and u 1 , … , u l {\displaystyle u_{1},\dots ,u_{l}} and v 1 , … , v l {\displaystyle v_{1},\dots ,v_{l}} the left and right singular vectors. Notice the only part of U {\displaystyle U} that contributes to t i {\displaystyle {\textbf {t}}_{i}} is the i 'th {\displaystyle i{\textrm {'th}}} row. Let this row vector be called t ^ i T {\displaystyle {\hat {\textrm {t}}}_{i}^{T}} . Likewise, the only part of V T {\displaystyle V^{T}} that contributes to d j {\displaystyle {\textbf {d}}_{j}} is the j 'th {\displaystyle j{\textrm {'th}}} column, d ^ j {\displaystyle {\hat {\textrm {d}}}_{j}} . These are not the eigenvectors, but depend on all the eigenvectors. I

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  • Murderbot (TV series)

    Murderbot (TV series)

    Murderbot is an American science fiction action comedy television series created by Paul Weitz and Chris Weitz for Apple TV+. It is based on All Systems Red, the first book of the series The Murderbot Diaries by Martha Wells, who serves as a consulting producer. The series stars Alexander Skarsgård as the titular character. The first season premiered on May 16, 2025 and received positive reviews. In July 2025, the series was renewed for a second season. == Premise == A media-obsessed private security construct (manufactured from cloned human tissue and mechanical parts) calling itself Murderbot must hide its newly acquired autonomy while completing dangerous assignments and being simultaneously drawn to humans, and appalled by their weakness. == Cast and characters == === Main === Alexander Skarsgård as Murderbot Noma Dumezweni as Ayda Mensah, a terraforming specialist, the President of Preservation Alliance and the leader of the science team protected by Murderbot David Dastmalchian as Gurathin, a tech expert and augmented human Sabrina Wu as Pin-Lee, a scientist and legal counsel to the team Akshay Khanna as Ratthi, a wormhole expert Tamara Podemski as Bharadwaj, a geochemist Tattiawna Jones as Arada, a biologist === Recurring === Cast of show-within-a-show The Rise and Fall of Sanctuary Moon John Cho as Eknie Jef Chem (playing Captain Hossein) Jack McBrayer as Breiller MocJac (playing Navigation Officer Hordööp-Sklanch) Clark Gregg as Arletty (playing Lieutenant Kullervv) DeWanda Wise as Pordron Bretney III Roche (playing NawBot 337 Alt 66) === Guest === Anna Konkle as Leebeebee, a member of another survey team on the planet. The character does not appear in the novella. Amanda Brugel as GrayCris Blue Leader David Reale as GrayCris Yellow == Episodes == == Production == The book series was optioned in the late 2010s, and its film adaptation was considered. In 2021, book series author Martha Wells said that a potential TV series adaptation was in development and that she had read the script and was "really excited about it". The series was green lit by Apple TV+ in 2022, with Wells serving as a consulting producer. The production design team, led by Sue Chan, started work in the autumn. Tommy Arnold, the Murderbot Diaries special edition illustrator, created the concept art for the show. After the casting was delayed by the 2023 SAG-AFTRA strike, in December 2023 it was announced that Alexander Skarsgård would produce and star in the series. He developed the character and the world of Murderbot with the showrunners. In February 2024, David Dastmalchian and Noma Dumezweni joined the cast. In March, Sabrina Wu, Tattiawna Jones, Akshay Khanna, and Tamara Podemski joined the cast. On July 10, 2025, the series was renewed for a second season. Showrunners Chris and Paul Weitz suggested the second season would combine the next three books of the series and will have longer episodes. === Filming === Principal photography for the first season took place from March–June 2024, in Toronto and parts of Ontario, Canada. Most of the filming was done on location, with the Sanctuary Moon scenes filmed on a virtual production stage. Principal photography for the second season began in mid-2026, in Madrid, Spain. It is planned to last 71 days, with Martha Wells also visiting the set. == Release == The first two episodes of Murderbot premiered on Apple TV+ on May 16, 2025, with subsequent episodes released weekly. The first season consists of ten episodes. == Reception == Even before the release of the show, numerous media sources had commented on the titular character as being coded as autistic and agender. On the review aggregator website Rotten Tomatoes, Murderbot has an approval rating of 96% with an average score of 7.5/10, based on 76 critics' reviews. The website's critical consensus states, "Alexander Skarsgård's superbly dry wit brings a lot of heart to Murderbot, making for a refreshingly jaunty sci-fi saga about finally coming out of one's shell". Metacritic, which uses a weighted average, assigned a score of 70 out of 100, based on 28 critics, indicating "generally favorable" reviews. Some reviewers have criticized Murderbot's changes to Wells' original books. Angela Watercutter of Wired noted that the series has significant tonal differences from the books and noted the show's changes to characters, particularly Murderbot and Dr. Mensah, and Wells' social commentary. === Accolades === Murderbot was a finalist for the 2025 Dragon Award for Best Science Fiction or Fantasy TV Series. Tommy Arnold won the 2025 Concept Art Association Award in the category of Live-Action Series Character Art for his work on Murderbot. Alexander Skarsgård was nominated for a Critics' Choice Award for Best Actor in a Comedy Series. Carrie Grace and Laura Jean Shannon were nominated for a Costume Designers Guild Award in the category of Excellence in Sci-Fi/Fantasy Television for their work on FreeCommerce. Amanda Jones was nominated for a Composers & Lyricists Award for Outstanding Original Title Sequence for a Television Production.

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  • Taylor Swift deepfake pornography controversy

    Taylor Swift deepfake pornography controversy

    In late January 2024, sexually explicit AI-generated deepfake images of American musician Taylor Swift were proliferated on social media platforms 4chan and X (formerly Twitter). Several artificial images of Swift of a sexual or violent nature were quickly spread, with one post reported to have been seen over 47 million times before its eventual removal. The images led Microsoft to enhance Microsoft Designer's text-to-image model to prevent future abuse. Moreover, these images prompted responses from anti-sexual assault advocacy groups, US politicians, Swifties, and Microsoft CEO Satya Nadella, among others, and it has been suggested that Swift's influence could result in new legislation regarding the creation of deepfake pornography. A similar controversy emerged in August 2025, when The Verge reported AI image and video tool Grok Imagine generated sexually explicit images and videos of Swift from an otherwise innocuous text prompt. == Background == American musician Taylor Swift has been the target of misogyny and slut-shaming throughout her career. American technology corporation Microsoft offers AI image creators called Microsoft Designer and Bing Image Creator, which employ censorship safeguards to prevent users from generating unsafe or objectionable content. Members of a Telegram group discussed ways to circumvent these censors to create pornographic images of celebrities. Graphika, a disinformation research firm, traced the creation of the images back to a 4chan community. == Reactions == For some, the deepfake images of Swift immediately became a source of controversy and outrage. Other internet users found them humorous and absurd, such as the image making it appear as though Swift was to engage in sexual intercourse with Oscar the Grouch. The images drew condemnations from Rape, Abuse & Incest National Network and SAG-AFTRA. The latter group, who had been following issues regarding AI-generated media prior to Swift's involvement, considered the images "upsetting, harmful and deeply concerning." Microsoft CEO Satya Nadella, whose company's products were believed to be used to make these images, responded to the controversy as "alarming and terrible", further stating his belief that "we all benefit when the online world is a safe world." === Taylor Swift === A source close to Swift told the Daily Mail that she would be considering legal action, saying, "Whether or not legal action will be taken is being decided, but there is one thing that is clear: These fake AI-generated images are abusive, offensive, exploitative, and done without Taylor's consent and/or knowledge." === Politicians === White House press secretary Karine Jean-Pierre expressed concern over the counterfeit images, deeming them "alarming", and emphasized the obligation of social media platforms to curb the dissemination of misinformation. Several members of American politics called for legislation against AI-generated pornography. Later in the month, a bipartisan bill was introduced by US senators Dick Durbin, Lindsey Graham, Amy Klobuchar and Josh Hawley. The bill would allow victims to sue individuals who produced or possessed "digital forgeries" with intent to distribute, or those who received the material knowing it was made without consent. The European Union struck a deal in February 2024 on a similar bill that would criminalize deepfake pornography, as well as online harassment and revenge porn, by mid-2027. === Social media platforms === X responded to the sharing of these images on their own website with claims they would suspend accounts that participated in their spread. Despite this, the photos continued to be reshared among accounts of X, and spread to other platforms including Instagram and Reddit. X enforces a "synthetic and manipulated media policy", which has been criticized for its efficacy. They briefly blocked searches of Swift's name on January 27, 2024, reinstating them two days later. === Swifties === Fans of Taylor Swift, known as Swifties, responded to the circulation of these images by pushing the hashtag #ProtectTaylorSwift to trend on X. They also flooded other hashtags related to the images with more positive images and videos of her live performances. == Cultural significance == Deepfake pornography has remained highly controversial and has affected figures from other celebrities to ordinary people, most of whom are women. Journalists have opined that the involvement of a prominent public figure such as Swift in the dissemination of AI-generated pornography could bring public awareness and political reform to the issue.

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  • A.I.s

    A.I.s

    A.I.s is a themed anthology of science fiction short works edited by American writers Jack Dann and Gardner Dozois. It was first published in paperback by Ace Books in December 2004. It was reissued as an ebook by Baen Books in June 2013. The book collects ten novelettes and short stories by various science fiction authors, together with a preface by the editors. == Contents == "Preface" (Jack Dann and Gardner Dozois) "Antibodies" (Charles Stross) "Trojan Horse" (Michael Swanwick) "Birth Day" (Robert Reed) "The Hydrogen Wall" (Gregory Benford) "The Turing Test" (Chris Beckett) "Dante Dreams" (Stephen Baxter) "The Names of All the Spirits" (J. R. Dunn) "From the Corner of My Eye" (Alexander Glass) "Halfjack" (Roger Zelazny) "Computer Virus" (Nancy Kress)

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  • Backend as a service

    Backend as a service

    Backend as a service (BaaS), sometimes also referred to as mobile backend as a service (MBaaS), is a service for providing web app and mobile app developers with a way to easily build a backend to their frontend applications. Features available include user management, push notifications, and integration with social networking services. These services are provided via the use of custom software development kits (SDKs) and application programming interfaces (APIs). BaaS is a relatively recent development in cloud computing, with most BaaS startups dating from 2011 or later. Some of the most popular service providers are AWS Amplify and Firebase. == Purpose == Web and mobile apps require a similar set of features on the backend, including notification service, integration with social networks, and cloud storage. Each of these services has its own API that must be individually incorporated into an app, a process that can be time-consuming and complicated for app developers. BaaS providers form a bridge between the frontend of an application and various cloud-based backends via a unified API and SDK. Providing a consistent way to manage backend data means that developers do not need to redevelop their own backend for each of the services that their apps need to access, potentially saving both time and money. Although similar to other cloud-computing business models, such as serverless computing, software as a service (SaaS), infrastructure as a service (IaaS), and platform as a service (PaaS), BaaS is distinct from these other services in that it specifically addresses the cloud-computing needs of web and mobile app developers by providing a unified means of connecting their apps to cloud services. == Features == BaaS providers offer different set of features and backend tools. Some of the most common features include: Database management. Most BaaS solutions provide SQL and/or NoSQL database management services for applications. Developers can store their app data without deploying and managing databases themselves. BaaS usually provides client SDKs, REST and GraphQL APIs for the frontend to interact with databases. File storage. BaaS providers often offer storage solutions for media files, user uploads, and other binary data. Applications can upload, download, and delete files through provided SDKs and APIs. Authentication and authorization. Some BaaS offer authentication and authorization services that allow developers to easily manage app users. This includes user sign-up, login, password reset, social media login integration through OAuth, user group and permission management etc. Notification service. Some BaaS providers such as Firebase and AWS Amplify have notification services that can send custom emails to users and push native notifications on mobile platforms. This is especially useful for applications that need to send messages, alerts, and reminders. Cloud functions. Some BaaS allow developers to deploy and run serverless functions. The functions are usually stateless and can be triggered by various ways including HTTP requests, SDK invocation, background server events, and cloud scheduled executions. Different providers offer runtime support for different languages, some of the popular languages are JavaScript/TypeScript (Node.js, Deno), Python, Java/Kotlin. Cloud functions extend the potential and flexibility of BaaS by allowing developers to write custom functionalities for their apps, working in a way similar to a traditional REST API backend framework. Usage analytics. Analytics data about application usage is often included in BaaS. This allows developers to monitor user behaviors and make decisions correspondingly in marketing strategies and performance optimizations. UI design. Some BaaS providers, such as AWS Amplify and Backendless, offer user interface designing tools that help developers design the frontend UI of web and mobile apps. While this may be useful for small teams and individual developers, UI design assistance may not be conventional in BaaS as it goes beyond the scope of backend infrastructure. Real-Time. Real-time features in a BaaS platform ensure that data updates and synchronizations occur instantly across all clients, making changes immediately visible to users. This is crucial for applications like live chat and collaborative tools, using technologies like WebSockets to maintain continuous server-client connections. == Service providers == BaaS providers have a broad focus, providing SDKs and APIs that work for app development on multiple platforms with different technology stacks, such as JavaScript (for Web apps), Flutter, Java/Kotlin (for Android apps), Swift/Objective-C (for iOS/MacOS/WatchOS/TvOS apps), .NET (for Windows) and others. BaaS providers also come in different types, suiting developers of different needs. === Cloud-based BaaS === Most BaaS providers host backend platforms on their cloud servers. They also manage the infrastructure, security, and scalability of the platforms. Developers can access the backend services via a web interface or the provided APIs. Some examples of cloud-based BaaS include Firebase (hosted on Google Cloud Platform), AWS Amplify (hosted on Amazon Web Services), and Microsoft Azure Mobile Apps (hosted on Microsoft Azure). === Self-hosted BaaS === Self-hosted BaaS allow developers to host backend on their own servers, providing more flexibility and potential to customization compared to cloud-based BaaS, which often is more difficult to migrate from. However, developers are also in charge of managing the infrastructure, security, and scalability of their servers. === Mobile BaaS === Mobile backend as a service (MBaaS) is a type of BaaS specifically for applications deployed in mobile systems. While some references use MBaaS interchangeably for BaaS, BaaS can have a wider variety of support such as for web apps and desktop apps. == Business model == BaaS providers generate revenue from their services in various ways, often using a freemium model. Under this model, a client receives a certain number of free active users or API calls per month, and pays a fee for each user or call over this limit. Alternatively, clients can pay a set fee for a package which allows for a greater number of calls or active users per month. There are also flat fee plans that make the pricing more predictable. Some of the providers offer the unlimited API calls inside their free plan offerings. Another business model that has been used by a lot of BaaS providers is PAYG (pay as you go), which has a flexible cost based on developers' usage of database, storage, bandwidth, function calls, user numbers etc.

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  • Combs method

    Combs method

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

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  • TCEC Season 14

    TCEC Season 14

    The 14th season of the Top Chess Engine Championship took place between 17 November 2018 and 24 February 2019. Stockfish was the defending champion, having defeated Komodo in the previous season's superfinal. The season is notable for two things: the emergence of two strong, new engines, the Komodo variant Komodo Monte Carlo tree search (MCTS) and the neural network engine Leela Chess Zero, and the dramatic superfinal. Komodo MCTS and Leela fought their way from Division 4 and Division 3 respectively to the Premier Division, with Leela further qualifying for the superfinal against Stockfish. The superfinal was a topsy-turvy affair with the lead changing hands several times. It finished as the closest superfinal TCEC has ever seen, with Stockfish winning by a single game, 50.5–49.5 (+10 =81 -9). == Overview == === Structure === The season comprised five divisions: from the lowest Division 4 to the Premier Division. The top two engines of each division promote to the division above, while the bottom two engines relegate. The top two engines of the Premier Division contest a 100-game superfinal. The lengths of the opening books used increases as the divisions progress. The superfinal itself used a custom opening book designed by Jeroen Noomen. === Rules === The TCEC draw and win rules were slightly modified for Season 14. The game is now adjudicated as drawn if, after move 30, both engines have evals ±0.08 for five consecutive moves, and there are neither pawn moves nor a capture. Win adjudication now occurs if both engines have an eval of ±10 for five consecutive moves. Following the controversy over DeusX's participation last season, the uniqueness rule for neural networks was modified such that at least two of the following three hallmarks must be unique: The code for training the neural network The neural network (and weights file) itself The engine that executes this network This change meant DeusX did not meet the uniqueness criteria and therefore did not participate. Aside from this change, the season used the standard rules of the TCEC. == Results == === Division 4 === New entrant Komodo MCTS dominated Division 4, winning by a clear four points, although it did lose a game to second-place finisher rofChade. Fellow new entrant Scorpio NN performed badly and finished last, drawing only one game and losing the rest. === Division 3 === The neural network engine Leela Chess Zero had just missed promotion to Division 2 in the previous season. Since its relatively weak performance last season was partly due to hardware problems, and since it had shown a lot of improvement in strength, it was the hot favourite in this division. Leela lived up to its billing by comprehensively defeating everyone else. In a portent of future divisions however, Leela surprisingly dropped a game to third-place Arasan. Komodo MCTS was also improving quickly, and an updated version finished second behind Leela. The gap between second and third was 6.5 points, illustrating the gulf in class. === Division 2 === Although Division 2 engines are significantly stronger than Division 3, Leela and Komodo MCTS continued to dominate the competition, and again finished first and second. Komodo MCTS only lost one game to Leela, while Leela's tendency to occasionally lose to weaker engines saw her losing a game to 4th-placed Booot. Third place finisher Xiphos gave Leela and Komodo MCTS a run for their money, and was in the running up until the final rounds when it lost a crucial game to Leela. This loss left it one point behind Komodo MCTS in the final standings. === Division 1 === Leela and Komodo MCTS's rampage through the lower divisions continued, and they again finished first and second. In a demonstration of how much it had improved, Leela scored 20/28 in this division, the same score it had achieved in Division 2. This was also a TCEC points record for this division. However, Leela dropped a game against fourth-place finisher Chiron. Komodo MCTS, which had yet to lose a game in the lower divisions except to Leela, also conceded its first loss to third-place Fizbo. At the other end of the table, former champions Jonny and Fritz, which had not been updated, found themselves outclassed and finished second-last and last respectively; however with fellow competitor Ginkgo crashing five times (and therefore being disqualified), Jonny managed to stay in the division. The penultimate game for this division set a new TCEC moves record for a decisive game: 308 moves before Leela defeated Fritz. === Premier division === This was the strongest premier division ever, with multiple-time champions Stockfish, Komodo, and Houdini in the mix. Right from the start it became clear that Stockfish was in a league of its own, and it dominated the division, scoring wins against every other engine without losing a game. Second place however was a hotly-contested affair, with Leela, Komodo and Houdini neck-and-neck for most of the division. Houdini took the early lead, but Komodo gained second after winning two games by forfeit when its sibling Komodo MCTS crashed. This led to murmurs of a "Konspiracy". However, when both Komodo and Houdini failed to score more wins against the lower half of the field, Leela was able to take the lead. Halfway through the division the race was upended again when Leela went through a bad streak, losing three games in a row to Stockfish, Komodo, and Fire. This led to Komodo regaining second place, only for Komodo MCTS to crash yet again. By TCEC rules this meant Komodo MCTS was disqualified and all its scores were zeroed out, which put Leela back in second place. With three games left, Leela missed a win against Andscacs, which would've more or less secured her a place in the superfinal. Meanwhile, Komodo kept the division interesting by winning two of its last three games. Because Komodo had superior tiebreakers to Leela, this meant Komodo would qualify for the superfinal unless Leela managed to hold Stockfish to a draw with Black in the last game of the division. In a tense final game, Stockfish came close to winning, but missed the winning line. Leela managed to draw and qualified for the superfinal. At the other end of the table, it was quickly apparent that Ethereal and Andscacs were the weakest engines and would likely relegate. However, when Komodo MCTS was disqualified (and therefore relegated), it threw both engines a lifeline, since they could now stay in the division by beating the other. Andscacs was able to score a head-to-head win against Ethereal, but was crushed by Stockfish (+0 =2 -4) and Leela (+0 =3 -3). Ethereal didn't manage to score a win in the entire division, but did manage to score more draws than Andscacs, condemning Andscacs to relegation. === Superfinal === Going into the superfinal expectations were high for Leela: she had received a new network and had just won her first major competition when she defeated Houdini in the second TCEC cup. However, she had won the tournament without having played Stockfish (who had been surprisingly eliminated by Houdini in the semifinals). That, plus the fact that Stockfish dominated Premier Division and had never lost a match to Leela, left it unclear which engine was superior, although most spectators favored Stockfish. The superfinal turned out to be a roller-coaster. It began with Stockfish drawing first blood in game 7, and then scoring another win in game 10. Leela hit back with wins in game 11 and 13, but then lost games 20, 21, and 22. This gave Stockfish a 3-point lead. However, in the next 30 games, Leela was the only one to score wins: it first equalized by winning games 25, 27, and 29, and then took the lead by winning games 49 and 53. Stockfish won game 56, but Leela won game 63, maintaining her lead. There followed two dramatic games. In game 65, Leela built up a winning position. Stockfish showed a +153 evaluation, indicating that it had found a forced line leading to an endgame tablebase win; indeed analysis with 7-piece tablebases showed that Leela's position was winning. Under previous seasons' rules, the game would have been adjudicated as a win because Leela's evaluation was above 6.5. However under the new rules, Leela's +8.92 evaluation was not enough to adjudicate. It turned out that Leela could not see the winning line, and shuffled her pieces aimlessly, leading to a 50-move draw. In game 66, Stockfish was given a substantial advantage by the opening, but failed to make the most of it. The evaluations were leveling out to zero when the internet connection to the GPU servers was cut off. By tournament rules, this meant the game was replayed from scratch. After a further internet disconnection and restart, Stockfish handled the opening better and won, leaving Leela with a 1-point lead. In the last third of the superfinal, there followed more drama as Leela often built up strong advantages, but Stockfish showed great resourcefulness in defending inferior positions. Meanwh

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