AI Assistant Intellij

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

  • Error level analysis

    Error level analysis

    Error level analysis (ELA) is the analysis of compression artifacts in digital data with lossy compression such as JPEG. == Principles == When used, lossy compression is normally applied uniformly to a set of data, such as an image, resulting in a uniform level of compression artifacts. Alternatively, the data may consist of parts with different levels of compression artifacts. This difference may arise from the different parts having been repeatedly subjected to the same lossy compression a different number of times, or the different parts having been subjected to different kinds of lossy compression. A difference in the level of compression artifacts in different parts of the data may therefore indicate that the data has been edited. In the case of JPEG, even a composite with parts subjected to matching compressions will have a difference in the compression artifacts. In order to make the typically faint compression artifacts more readily visible, the data to be analyzed is subjected to an additional round of lossy compression, this time at a known, uniform level, and the result is subtracted from the original data under investigation. The resulting difference image is then inspected manually for any variation in the level of compression artifacts. In 2007, N. Krawetz denoted this method "error level analysis". Additionally, digital data formats such as JPEG sometimes include metadata describing the specific lossy compression used. If in such data the observed compression artifacts differ from those expected from the given metadata description, then the metadata may not describe the actual compressed data, and thus indicate that the data have been edited. == Limitations == By its nature, data without lossy compression, such as a PNG image, cannot be subjected to error level analysis. Consequently, since editing could have been performed on data without lossy compression with lossy compression applied uniformly to the edited, composite data, the presence of a uniform level of compression artifacts does not rule out editing of the data. Additionally, any non-uniform compression artifacts in a composite may be removed by subjecting the composite to repeated, uniform lossy compression. Also, if the image color space is reduced to 256 colors or less, for example, by conversion to GIF, then error level analysis will generate useless results. More significant, the actual interpretation of the level of compression artifacts in a given segment of the data is subjective, and the determination of whether editing has occurred is therefore not robust. == Controversy == In May 2013, Dr Neal Krawetz used error level analysis on the 2012 World Press Photo of the Year and concluded on his Hacker Factor blog that it was "a composite" with modifications that "fail to adhere to the acceptable journalism standards used by Reuters, Associated Press, Getty Images, National Press Photographer's Association, and other media outlets". The World Press Photo organizers responded by letting two independent experts analyze the image files of the winning photographer and subsequently confirmed the integrity of the files. One of the experts, Hany Farid, said about error level analysis that "It incorrectly labels altered images as original and incorrectly labels original images as altered with the same likelihood". Krawetz responded by clarifying that "It is up to the user to interpret the results. Any errors in identification rest solely on the viewer". In May 2015, the citizen journalism team Bellingcat wrote that error level analysis revealed that the Russian Ministry of Defense had edited satellite images related to the Malaysia Airlines Flight 17 disaster. In a reaction to this, image forensics expert Jens Kriese said about error level analysis: "The method is subjective and not based entirely on science", and that it is "a method used by hobbyists". On his Hacker Factor Blog, the inventor of error level analysis Neal Krawetz criticized both Bellingcat's use of error level analysis as "misinterpreting the results" but also on several points Jens Kriese's "ignorance" regarding error level analysis.

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  • TuVox

    TuVox

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

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  • Fuzzy electronics

    Fuzzy electronics

    Fuzzy electronics is an electronic technology that uses fuzzy logic, instead of the two-state Boolean logic more commonly used in digital electronics. Fuzzy electronics is fuzzy logic implemented on dedicated hardware. This is to be compared with fuzzy logic implemented in software running on a conventional processor. Fuzzy electronics has a wide range of applications, including control systems and artificial intelligence. == History == The first fuzzy electronic circuit was built by Takeshi Yamakawa et al. in 1980 using discrete bipolar transistors. The first industrial fuzzy application was in a cement kiln in Denmark in 1982. The first VLSI fuzzy electronics was by Masaki Togai and Hiroyuki Watanabe in 1984. In 1987, Yamakawa built the first analog fuzzy controller. The first digital fuzzy processors came in 1988 by Togai (Russo, pp. 2–6). In the early 1990s, the first fuzzy logic chips were presented to the public. Two companies which are Omron and NEC have announced the development of dedicated fuzzy electronic hardware in the year 1991. Two years later, the Japanese Omron Cooperation has shown a working fuzzy chip during a technical fair.

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  • The Way (novel series)

    The Way (novel series)

    The Way series is a trilogy of science fiction novels and one short story by American author Greg Bear published from 1985 to 1999. The first novel was Eon (1985), followed by a sequel, Eternity and a prequel, Legacy. It also includes The Way of All Ghosts, a short story that falls between Legacy and Eon. == Novels == === Eon === Eon chronicles the appearance and discovery of the Thistledown, and its subsequent effect on humanity. In the early 21st century, the United States and the USSR are on the verge of nuclear war. In that tense political climate, an asteroid appears out of near space after an unusual supernova and settles into an extremely elliptical orbit near Earth orbit. The two nations each try to claim this mysterious object, which appears to be a virtual duplicate of Juno. It is hollow and contains seven vast terraformed chambers. Two of the chambers contain cities long abandoned by human beings who seemed to come from Earth's future. The asteroid is called the Thistledown by its builders. A startling discovery is that it is bigger inside than outside. The seventh chamber appears to stretch into infinity. The human inhabitants of the Thistledown come from an alternate timeline, approximately 1000 years in the future. In their timeline, human civilization was nearly destroyed by the "Death", a calamitous World War involving nuclear weapons. The Death occurred at approximately the same time as the appearance of the Thistledown in the present time. Its presence threatens to cause the Death to occur on the current timeline as well. An expedition is sent down the seemingly infinite seventh chamber (The "Way", as it is known) where it encounters the descendants of humanity. The high technology of this civilization, known as the Hexamon, has control over genetic engineering, human augmentation, and matter itself. The Hexamon includes several alien species who have come to live with humanity's descendants. The Hexamon itself is at war with an alien race known as the Jarts from further down the corridor still. In 2007, CGSociety organised a "CG Challenge" based upon Eon === Eternity === Jarts, politics, and technology make up the second book in the series: Eternity. The Jart religion is based on the preservation of all data, which encompasses all life forms, past and present, and sending that data to the Jarts' future masters, their descendants. === Legacy === In the third book (a prequel, set in the time before Eon), Legacy, soldier Olmy ap Sennon is sent to spy on a group of dissidents who have used the spacetime tunnel of "the Way" (introduced in Eon) to colonize the alien world of Lamarckia, a planet with an ecosystem that learns from its changed environment in a way that resembles Lamarckian evolution. Its plants and animals turn out to actually be parts of continent-sized organisms. === "The Way of All Ghosts" === In the short story "The Way of All Ghosts" soldier Olmy ap Sennon is sent to close a lesion that formed out of a wayward gate into perfection. This story was published in 1999 in Far Horizons. == Fictional history of the Thistledown == Within the universe of The Way, the Thistledown is an asteroid starship built by hollowing out Juno and fitting it with mass-driver (rail gun) engines and thermonuclear drives. Inside the asteroid, seven giant "Chambers" are built, of which two host cities for the inhabitants, while others host machinery and recreation areas. The asteroid is prepared 500 years in the future, as told in Bear's novel Eon, and is engaged on a multi-generational journey to Epsilon Eridani, around which a habitable planet is known to circle. The journey is meant to take 60 years, as the ship can only maintain a velocity of 20% the speed of light. This limitation is removed after the technology of the Thistledown was improved to include inertial dampeners, allowing higher accelerations. Inhabiting the Thistledown are the best and brightest of Earth, who are quite diverse both culturally and politically. The Thistledown's society includes one transcendent genius, Konrad Korzenowski, whose preference for living in the Thistledown as compared with an outer universe, causes him to experiment with closed-geodesic space time in the Seventh Chamber, 20 years into the Thistledown's voyage. The results of his experiments are shattering in the extreme: He creates a unique pocket universe: The Way. == The Way == === Origin === The eponymous Way is an extension of the 7th Chamber, and was formed in the novels using the machinery of the 6th Chamber. This machinery is a selective inertial damper, developed by engineers within the Thistledown with twofold purpose—to permit the Thistledown to accelerate to the limit of its engines (up to 99% the speed of light) and to selectively dampen inertia within the vessel, e.g., water within waterways, high velocity train systems. The inertial dampening machinery within the 6th Chamber is anchored to the structure of the Thistledown, equally spaced around the chamber at the vertices of a regular heptagon. === Creation === At the creation, and rejoining of the Way to the Thistledown, the character Konrad Korzenowski and his engineers designed and 'built' the Way out of the in-folded geodesics of the inertial dampening field of the 6th Chamber machinery. This is described in the books by first considering the inertial dampening field: Within the Thistledown, the field envelops the asteroid, effectively isolating it from the Einsteinian Metrical Frame, permitting relative inertia to be ignored. The Thistledown was, at the time of activation, isolated from its continuum, but only selectively. Its matter and energy anchored it to its continuum and relative time, but its geometry and quantum entanglement had been strained by the inertial dampener, thus making it susceptible to superspace distortions, and therefore it could be affected by them negatively. Korzenowski, having been influenced by the earlier work of Vazquez on Earth, and in developing her work within the Thistledown, planned a radical extension of the inertial field of the 6th Chamber - effectively extending the field away to an infinite extent within the 7th Chamber. In order to do this effectively, he and his engineers modified a set of semi-sentient field calibration tools to build the first Clavicles. Unlike the field calibration tools from which they were descended, the Clavicles possessed the ability not only to manipulate the field, but extend it as an extension of the will of the operator. Already radical enough, Korzenowski and his team went further. By extending the field of the 6th Chamber from within the 7th Chamber of the Thistledown, they could then directly access what Vasquez had calculated within her own work—alternate world lines as non-gravity bent geodesics of superspace. Korzenowski thus 'felt' superspace within the 7th Chamber, selecting the infinite selection of possible alternate pocket universes accessible by the Clavicle to form, as a sheer act of will, the Way from his designs and his vision. The resulting structure was constructed, not of matter, but of previously in-folded superspace vectors now infinitely extended. (in the manner of Schwarzschild folded geometry, or of an asymptotic curve.) The Way was thus opened. The Way's geometry also gave rise to the Flaw - as superspace geometry of the field boundary was extended infinitely, so the folded geodesics of the field unfold in the geometric centre of the Way to form a singularity. This singularity, the Flaw, rests within the Way's plasma tube (which in turn is sustained by the Flaw). The Flaw 'produces' gravity by actively repulsing matter away from itself in an acceleration at the square of the distance away from itself. In addition, any object encircling the Flaw, and then exerting pressure against it, experiences this pressure as a translation force along the Flaw's length perpendicular to the direction of force. The motion thus induced is controllable by the angle at which an annular ring enclosure is pressed against the Flaw. The same spatial transform also can be used to turn tip turbines in order to generate electricity. The Flaw permits a violation of the First Law of Thermodynamics, therefore defining the Way as a perpetual motion machine of the First Order, making energy out of nothing. === Early history === The Way, as formed, was described by Bear as being in vacuum and did not consist of matter within its infinite length. Due to extremely slight ambiguity involved in its creation, the synchronicity between time within the Way, and within the Thistledown, was not exact. Thus, the Engineers spend two decades working to correct these faults using the Clavicles to manipulate the junction between Way and Thistledown. During this period, ambition led Korzenowksi to use the clavicle to open the first exploratory gate within the way, leading to the universe of the Jarts. Though the gate to Jart world was closed, the advanced Jarts neve

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  • Kolmogorov–Arnold Networks

    Kolmogorov–Arnold Networks

    Kolmogorov–Arnold Networks (KANs) are a type of artificial neural network architecture inspired by the Kolmogorov–Arnold representation theorem, also known as the superposition theorem. Unlike traditional multilayer perceptrons (MLPs), which rely on fixed activation functions and linear weights, KANs replace each weight with a learnable univariate function, often represented using splines. == History == KANs (Kolmogorov–Arnold Networks) were proposed by Liu et al. (2024) as a generalization of the Kolmogorov–Arnold representation theorem (KART), aiming to outperform MLPs in small-scale AI and scientific tasks. Before KANs, numerous studies explored KART's connections to neural networks or used it as a basis for designing new network architectures. In the 1980s and 1990s, early research applied KART to neural network design. Kůrková et al. (1992), Hecht-Nielsen (1987), and Nees (1994) established theoretical foundations for multilayer networks based on KART. Igelnik et al. (2003) introduced the Kolmogorov Spline Network using cubic splines to model complex functions. Sprecher (1996, 1997) introduced numerical methods for building network layers, while Nakamura et al. (1993) created activation functions with guaranteed approximation accuracy. These works linked KART's theoretical potential with practical neural network implementation. KART has also been used in other computational and theoretical fields. Coppejans (2004) developed nonparametric regression estimators using B-splines, Bryant (2008) applied it to high-dimensional image tasks, Liu (2015) investigated theoretical applications in optimal transport and image encryption, and more recently, Polar and Poluektov (2021) used Urysohn operators for efficient KART construction, while Fakhoury et al. (2022) introduced ExSpliNet, integrating KART with probabilistic trees and multivariate B-splines for improved function approximation. == Architecture == KANs are based on the Kolmogorov–Arnold representation theorem, which was linked to the 13th Hilbert problem. Given x = ( x 1 , x 2 , … , x n ) {\displaystyle x=(x_{1},x_{2},\dots ,x_{n})} consisting of n variables, a multivariate continuous function f ( x ) {\displaystyle f(x)} can be represented as: f ( x ) = f ( x 1 , … , x n ) = ∑ q = 1 2 n + 1 Φ q ( ∑ p = 1 n φ q , p ( x p ) ) {\displaystyle f(x)=f(x_{1},\dots ,x_{n})=\sum _{q=1}^{2n+1}\Phi _{q}\left(\sum _{p=1}^{n}\varphi _{q,p}(x_{p})\right)} (1) This formulation contains two nested summations: an outer and an inner sum. The outer sum ∑ q = 1 2 n + 1 {\displaystyle \sum _{q=1}^{2n+1}} aggregates 2 n + 1 {\displaystyle 2n+1} terms, each involving a function Φ q : R → R {\displaystyle \Phi _{q}:\mathbb {R} \to \mathbb {R} } . The inner sum ∑ p = 1 n {\displaystyle \sum _{p=1}^{n}} computes n terms for each q, where each term φ q , p : [ 0 , 1 ] → R {\displaystyle \varphi _{q,p}:[0,1]\to \mathbb {R} } is a continuous function of the single variable x p {\displaystyle x_{p}} . The inner continuous functions φ q , p {\displaystyle \varphi _{q,p}} are universal, independent of f {\displaystyle f} , while the outer functions Φ q {\displaystyle \Phi _{q}} depend on the specific function f {\displaystyle f} being represented. The representation (1) holds for all multivariate functions f {\displaystyle f} as proved in . If f {\displaystyle f} is continuous, then the outer functions Φ q {\displaystyle \Phi _{q}} are continuous; if f {\displaystyle f} is discontinuous, then the corresponding Φ q {\displaystyle \Phi _{q}} are generally discontinuous, while the inner functions φ q , p {\displaystyle \varphi _{q,p}} remain the same universal functions. Liu et al. proposed the name KAN. A general KAN network consisting of L layers takes x to generate the output as: K A N ( x ) = ( Φ L − 1 ∘ Φ L − 2 ∘ ⋯ ∘ Φ 1 ∘ Φ 0 ) x {\displaystyle \mathrm {KAN} (x)=(\Phi ^{L-1}\circ \Phi ^{L-2}\circ \cdots \circ \Phi ^{1}\circ \Phi ^{0})x} (3) Here, Φ l {\displaystyle \Phi ^{l}} is the function matrix of the l-th KAN layer or a set of pre-activations. Let i denote the neuron of the l-th layer and j the neuron of the (l+1)-th layer. The activation function φ j , i l {\displaystyle \varphi _{j,i}^{l}} connects (l, i) to (l+1, j): φ j , i l , l = 0 , … , L − 1 , i = 1 , … , n l , j = 1 , … , n l + 1 {\displaystyle \varphi _{j,i}^{l},\quad l=0,\dots ,L-1,\;i=1,\dots ,n_{l},\;j=1,\dots ,n_{l+1}} (4) where nl is the number of nodes of the l-th layer. Thus, the function matrix Φ l {\displaystyle \Phi ^{l}} can be represented as an n l + 1 × n l {\displaystyle n_{l+1}\times n_{l}} matrix of activations: x l + 1 = ( φ 1 , 1 l ( ⋅ ) φ 1 , 2 l ( ⋅ ) ⋯ φ 1 , n l l ( ⋅ ) φ 2 , 1 l ( ⋅ ) φ 2 , 2 l ( ⋅ ) ⋯ φ 2 , n l l ( ⋅ ) ⋮ ⋮ ⋱ ⋮ φ n l + 1 , 1 l ( ⋅ ) φ n l + 1 , 2 l ( ⋅ ) ⋯ φ n l + 1 , n l l ( ⋅ ) ) x l {\displaystyle x^{l+1}={\begin{pmatrix}\varphi _{1,1}^{l}(\cdot )&\varphi _{1,2}^{l}(\cdot )&\cdots &\varphi _{1,n_{l}}^{l}(\cdot )\\\varphi _{2,1}^{l}(\cdot )&\varphi _{2,2}^{l}(\cdot )&\cdots &\varphi _{2,n_{l}}^{l}(\cdot )\\\vdots &\vdots &\ddots &\vdots \\\varphi _{n_{l+1},1}^{l}(\cdot )&\varphi _{n_{l+1},2}^{l}(\cdot )&\cdots &\varphi _{n_{l+1},n_{l}}^{l}(\cdot )\end{pmatrix}}x^{l}} == Implementations == To make the KAN layers optimizable, the inner function is formed by the combination of spline and basic functions as the formula: φ ( x ) = w b b ( x ) + w s spline ( x ) {\displaystyle \varphi (x)=w_{b}\,b(x)+w_{s}\,{\text{spline}}(x)} where b ( x ) {\displaystyle b(x)} is the basic function, usually defined as s i l u ( x ) = x / ( 1 + e x ) {\displaystyle silu(x)=x/(1+e^{x})} and w b {\displaystyle w_{b}} is the base weight matrix. Also, w s {\displaystyle w_{s}} is the spline weight matrix and spline ( x ) {\displaystyle {\text{spline}}(x)} is the spline function. The spline function can be a sum of B-splines. spline ( x ) = ∑ i c i B i ( x ) {\displaystyle {\text{spline}}(x)=\sum _{i}c_{i}B_{i}(x)} Many studies suggested to use other polynomial and curve functions instead of B-spline to create new KAN variants. == Functions used == The choice of functional basis strongly influences the performance of KANs. Common function families include: B-splines: Provide locality, smoothness, and interpretability; they are the most widely used in current implementations. RBFs (include Gaussian RBFs): Capture localized features in data and are effective in approximating functions with non-linear or clustered structures. Chebyshev polynomials: Offer efficient approximation with minimized error in the maximum norm, making them useful for stable function representation. Rational function: Useful for approximating functions with singularities or sharp variations, as they can model asymptotic behavior better than polynomials. Fourier series: Capture periodic patterns effectively and are particularly useful in domains such as physics-informed machine learning. Wavelet functions (DoG, Mexican hat, Morlet, and Shannon): Used for feature extraction as they can capture both high-frequency and low-frequency data components. Piecewise linear functions: Provide efficient approximation for multivariate functions in KANs. == Usage == In some modern neural architectures like convolutional neural networks (CNNs), recurrent neural networks (RNNs), and Transformers, KANs are typically used as drop-in substitutes for MLP layers. Despite KANs' general-purpose design, researchers have created and used them for a number of tasks: Scientific machine learning (SciML): Function fitting, partial differential equations (PDEs) and physical/mathematical laws. Continual learning: KANs better preserve previously learned information during incremental updates, avoiding catastrophic forgetting due to the locality of spline adjustments. Graph neural networks: Extensions such as Kolmogorov–Arnold Graph Neural Networks (KA-GNNs) integrate KAN modules into message-passing architectures, showing improvements in molecular property prediction tasks. Sensor data processing: Kolmogorov–Arnold Networks (KANs) have recently been applied to sensor data processing due to their ability to model complex nonlinear relationships with relatively few parameters and improved interpretability compared to conventional multilayer perceptrons. Applications include industrial soft sensors, biomedical signal analysis, remote sensing, and environmental monitoring systems. == Drawbacks == KANs can be computationally intensive and require a large number of parameters due to their use of polynomial functions to capture data.

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  • Pommerman Challenge

    Pommerman Challenge

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

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  • AI art

    AI art

    Artificial intelligence visual art, or AI art, is visual artwork generated or enhanced through the implementation of artificial intelligence (AI) programs, most commonly using text-to-image models. The process of automated art-making has existed since antiquity. The field of artificial intelligence was founded in the 1950s, and artists began to create art with artificial intelligence shortly after the discipline's founding. A select number of these creations have been showcased in museums and have been recognized with awards. Throughout its history, AI has raised many philosophical questions related to the human mind, artificial beings, and the nature of art in human–AI collaboration. During the AI boom of the 2020s, text-to-image models such as Midjourney, DALL-E and Stable Diffusion became widely available to the public, allowing users to quickly generate imagery with little effort. Commentary about AI art in the 2020s has often focused on issues related to copyright, deception, defamation, and its impact on more traditional artists, including technological unemployment. In August 2023, the US Supreme Court ruled that AI art is ineligible for copyright due to failure to meet human authorship. In March 2026, it declined to hear a case over whether AI-generated art can be subject to copyright. == History == === Early history === Automated art dates back at least to the automata of ancient Greek civilization, when inventors such as Daedalus and Hero of Alexandria were described as designing machines capable of writing text, generating sounds, and playing music. Creative automatons have flourished throughout history, such as Maillardet's automaton, created around 1800 and capable of creating multiple drawings and poems. Also in the 19th century, Ada Lovelace, wrote that "computing operations" could potentially be used to generate music and poems. In 1950, Alan Turing's paper "Computing Machinery and Intelligence" focused on whether machines can mimic human behavior convincingly. Shortly after, the academic discipline of artificial intelligence was founded at a research workshop at Dartmouth College in 1956. Since its founding, AI researchers have explored philosophical questions about the nature of the human mind and the consequences of creating artificial beings with human-like intelligence; these issues have previously been explored by myth, fiction, and philosophy since antiquity. === Artistic history === Since the founding of AI in the 1950s, artists have used artificial intelligence to create artistic works. These works were sometimes referred to as algorithmic art, computer art, digital art, or new media art. One of the first significant AI art systems is AARON, developed by Harold Cohen beginning in the late 1960s at the University of California at San Diego. AARON uses a symbolic rule-based approach to generate technical images in the era of GOFAI programming, and it was developed by Cohen with the goal of being able to code the act of drawing. AARON was exhibited in 1972 at the Los Angeles County Museum of Art. From 1973 to 1975, Cohen refined AARON during a residency at the Artificial Intelligence Laboratory at Stanford University. In 2024, the Whitney Museum of American Art exhibited AI art from throughout Cohen's career, including re-created versions of his early robotic drawing machines. Karl Sims has exhibited art created with artificial life since the 1980s. He received an M.S. in computer graphics from the MIT Media Lab in 1987 and was artist-in-residence from 1990 to 1996 at the supercomputer manufacturer and artificial intelligence company Thinking Machines. In both 1991 and 1992, Sims won the Golden Nica award at Prix Ars Electronica for his videos using artificial evolution. In 1997, Sims created the interactive artificial evolution installation Galápagos for the NTT InterCommunication Center in Tokyo. Sims received an Emmy Award in 2019 for outstanding achievement in engineering development. In 1999, Scott Draves and a team of several engineers created and released Electric Sheep as a free software screensaver. Electric Sheep is a volunteer computing project for animating and evolving fractal flames, which are distributed to networked computers that display them as a screensaver. The screensaver used AI to create an infinite animation by learning from its audience. In 2001, Draves won the Fundacion Telefónica Life 4.0 prize for Electric Sheep. In 2014, Stephanie Dinkins began working on Conversations with Bina48. For the series, Dinkins recorded her conversations with BINA48, a social robot that resembles a middle-aged black woman. In 2019, Dinkins won the Creative Capital award for her creation of an evolving artificial intelligence based on the "interests and culture(s) of people of color." In 2015, Sougwen Chung began Mimicry (Drawing Operations Unit: Generation 1), an ongoing collaboration between the artist and a robotic arm. In 2019, Chung won the Lumen Prize for her continued performances with a robotic arm that uses AI to attempt to draw in a manner similar to Chung. In 2018, an auction sale of artificial intelligence art was held at Christie's in New York where the AI artwork Edmond de Belamy sold for US$432,500, which was almost 45 times higher than its estimate of US$7,000–10,000. The artwork was created by Obvious, a Paris-based collective. In 2024, Japanese film generAIdoscope was released. The film was co-directed by Hirotaka Adachi, Takeshi Sone, and Hiroki Yamaguchi. All video, audio, and music in the film were created with artificial intelligence. In 2025, the Japanese anime television series Twins Hinahima was released. The anime was produced and animated with AI assistance during the process of cutting and conversion of photographs into anime illustrations and later retouched by art staff. Most of the remaining parts such as characters and logos were hand-drawn with various software. === Technical history === Deep learning, characterized by its multi-layer structure that attempts to mimic the human brain, first came about in the 2010s, causing a significant shift in the world of AI art. During the deep learning era, there are mainly these types of designs for generative art: autoregressive models, diffusion models, GANs, normalizing flows. In 2014, Ian Goodfellow and colleagues at Université de Montréal developed the generative adversarial network (GAN), a type of deep neural network capable of learning to mimic the statistical distribution of input data such as images. The GAN uses a "generator" to create new images and a "discriminator" to decide which created images are considered successful. Unlike previous algorithmic art that followed hand-coded rules, generative adversarial networks could learn a specific aesthetic by analyzing a dataset of example images. In 2015, a team at Google released DeepDream, a program that uses a convolutional neural network to find and enhance patterns in images via algorithmic pareidolia. The process creates deliberately over-processed images with a dream-like appearance reminiscent of a psychedelic experience. Later, in 2017, a conditional GAN learned to generate 1000 image classes of ImageNet, a large visual database designed for use in visual object recognition software research. By conditioning the GAN on both random noise and a specific class label, this approach enhanced the quality of image synthesis for class-conditional models. Autoregressive models were used for image generation, such as PixelRNN (2016), which autoregressively generates one pixel after another with a recurrent neural network. Immediately after the Transformer architecture was proposed in Attention Is All You Need (2018), it was used for autoregressive generation of images, but without text conditioning. The website Artbreeder, launched in 2018, uses the models StyleGAN and BigGAN to allow users to generate and modify images such as faces, landscapes, and paintings. In the 2020s, text-to-image models, which generate images based on prompts, became widely used, marking yet another shift in the creation of AI-generated artworks. In 2021, using the influential large language generative pre-trained transformer models that are used in GPT-2 and GPT-3, OpenAI released a series of images created with the text-to-image AI model DALL-E 1. It is an autoregressive generative model with essentially the same architecture as GPT-3. Along with this, later in 2021, EleutherAI released the open source VQGAN-CLIP based on OpenAI's CLIP model. Diffusion models, generative models used to create synthetic data based on existing data, were first proposed in 2015, but they only became better than GANs in early 2021. Latent diffusion model was published in December 2021 and became the basis for the later Stable Diffusion (August 2022), developed through a collaboration between Stability AI, CompVis Group at LMU Munich, and Runway. In 2022, Midjourney was released, followed by Google Brain's Imagen and Pa

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  • Asian Digital Finance Forum & Awards

    Asian Digital Finance Forum & Awards

    Asian Digital Finance Forum & Awards (also known as Asian Digital Finance Forum and Awards) is a forum and honorary awards platform convened in Colombo, Sri Lanka. It has been hosted in a hybrid format (virtual and in-person), with editions reported in 2022, 2023 and 2025. The event is organised by the Asian FinTech Academy (AFTA) in collaboration with a number of local and international institutions. == Overview == The forum has featured international academic, industry, and policy speakers and has recognised institutions and individuals for contributions related to digital finance and fintech innovation. Media coverage has described participation and recognition at the forum as spanning multiple regions, with institutions and individuals from South Asia, Southeast Asia, East Asia, the Middle East, Europe, and North America featured across different editions. == Awards and recognition == The forum and awards were held in a hybrid format with virtual and in-person proceedings at Hilton Colombo in the 2022 and 2023 editions. The Asian Digital Finance Forum & Awards presents honorary recognitions to institutions and individuals for contributions to digital finance, financial inclusion, and related regulatory, technological, and policy developments. Media coverage has described the recognitions as non-competitive and based on demonstrated leadership and impact rather than open nominations. In 2025, the forum and awards served as an anchor initiative associated with the Asia International Digital Economy & AI in Finance Summit at Port City Colombo, with an emphasis on artificial intelligence in finance, financial inclusion, and governance-related themes. === 2022 === According to reporting by Daily FT, institutions recognised at the 2022 edition included Sri Lanka’s Bank of Ceylon, Commercial Bank of Ceylon, Hatton National Bank, and People’s Bank, alongside international organisations and fintech-sector contributors. === 2023 === Coverage of the 2023 forum described recognitions awarded to India’s International Financial Services Centres Authority (IFSCA) for regulatory innovation, as well as to digital finance and payments platforms including Dialog Genie and SLT-Mobitel mCash. IDEMIA’s Asia–Pacific operations were also recognised for contributions related to biometric and digital identity technologies in financial services. === 2025 === For the 2025 edition, institutional honourees reported in the media included Nium (Singapore), recognised for cross-border payments optimisation, and Paytm (India), recognised for AI-powered financial inclusion initiatives. A Visionary Award for Next-Generation Financial Hub Development was presented to Port City Colombo in recognition of its fintech- and AI-oriented development strategy. Individual honourees reported for 2025 included Sopnendu Mohanty (Singapore), Neil Tan (Hong Kong), Purvi Munot (United Arab Emirates), and Amira Abdelaziz (Egypt), recognised for contributions spanning fintech governance, ecosystem development, inclusive wealth technology, and AI-driven financial policy and regulation. In 2025, media reports described the awards as being subject to an independent validation framework. The process was led by Dr. Sivaguru S. Sritharan, appointed as Global Validation Chair, and involved independent research, analytical review, and benchmarking against international standards, with recognitions characterised as honorary and non-competitive.

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  • Semantic compression

    Semantic compression

    In natural language processing, semantic compression is a process of compacting a lexicon used to build a textual document (or a set of documents) by reducing language heterogeneity, while maintaining text semantics. As a result, the same ideas can be represented using a smaller set of words. In most applications, semantic compression is a lossy compression. Increased prolixity does not compensate for the lexical compression and an original document cannot be reconstructed in a reverse process. == By generalization == Semantic compression is basically achieved in two steps, using frequency dictionaries and semantic network: determining cumulated term frequencies to identify target lexicon, replacing less frequent terms with their hypernyms (generalization) from target lexicon. Step 1 requires assembling word frequencies and information on semantic relationships, specifically hyponymy. Moving upwards in word hierarchy, a cumulative concept frequency is calculating by adding a sum of hyponyms' frequencies to frequency of their hypernym: c u m f ( k i ) = f ( k i ) + ∑ j c u m f ( k j ) {\displaystyle cumf(k_{i})=f(k_{i})+\sum _{j}cumf(k_{j})} where k i {\displaystyle k_{i}} is a hypernym of k j {\displaystyle k_{j}} . Then a desired number of words with top cumulated frequencies are chosen to build a target lexicon. In the second step, compression mapping rules are defined for the remaining words in order to handle every occurrence of a less frequent hyponym as its hypernym in output text. Example The below fragment of text has been processed by the semantic compression. Words in bold have been replaced by their hypernyms. They are both nest building social insects, but paper wasps and honey bees organize their colonies in very different ways. In a new study, researchers report that despite their differences, these insects rely on the same network of genes to guide their social behavior.The study appears in the Proceedings of the Royal Society B: Biological Sciences. Honey bees and paper wasps are separated by more than 100 million years of evolution, and there are striking differences in how they divvy up the work of maintaining a colony. The procedure outputs the following text: They are both facility building insect, but insects and honey insects arrange their biological groups in very different structure. In a new study, researchers report that despite their difference of opinions, these insects act the same network of genes to steer their party demeanor. The study appears in the proceeding of the institution bacteria Biological Sciences. Honey insects and insect are separated by more than hundred million years of organic processes, and there are impinging differences of opinions in how they divvy up the work of affirming a biological group. == Implicit semantic compression == A natural tendency to keep natural language expressions concise can be perceived as a form of implicit semantic compression, by omitting unmeaningful words or redundant meaningful words (especially to avoid pleonasms). == Applications and advantages == In the vector space model, compacting a lexicon leads to a reduction of dimensionality, which results in less computational complexity and a positive influence on efficiency. Semantic compression is advantageous in information retrieval tasks, improving their effectiveness (in terms of both precision and recall). This is due to more precise descriptors (reduced effect of language diversity – limited language redundancy, a step towards a controlled dictionary). As in the example above, it is possible to display the output as natural text (re-applying inflexion, adding stop words).

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  • Lymphater's Formula

    Lymphater's Formula

    "Lymphater's Formula" (Polish: "Formula Lymphatera") is a 1961 science fiction short story by Polish writer Stanisław Lem. It is a story of a "mad scientist", mathematician Ammon Lymphater, who invents an artificial intelligence, and then he realizes that it is capable of rendering the humankind obsolete. It was first published in the 1961 collection Księga robotów (Book of Robots) with the pre-annotation "from the memoirs of Ijon Tichy". The story was never republished with this pre-annotation, and nothing in the novel gives any indication at Ijon Tichy. Piotr Krywak tried to figure out possible explanations for this, apart from a typographical error. == Plot == Ammon Lymphater became interested in the emerging science of cybernetics and information theory, and started studying the works of an animal brain, the ant's brain in particular. He took note that the inherited knowledge is an evolutionary advantage somehow not exploited in full by the evolution. Eventually he came to a conclusion that only by pure biological restrictions that adaptive abilities of insects were stopped in their tracks by the evolution. He went on further wondering whether the ants have an ability to apriori knowledge, i.e., knowledge neither inherited nor learned. He decided to consult a famous myrmecologist, who told him about a rare ant species Acanthis Rubra Willinsoniana with an exceptionally high adaptability. Eventually Lymphater devised and constructed "It" capable of instant precognition of everything within "Its" rapidly expanding range of perception. From "It" Lymphater learns that the humanity is not the "crown of evolution", but rather evolution's tool to create "It", because the evolution could not create "It" directly (confirming Lymphater's reasoning about ants). Realizing that the Superentity "It" renders the human civilization redundant and obsolete, Lymphater destroys "It". "It" already knew Lymphater's intentions, but was not worried, knowing that sooner or later someone else will create "It" again and again. "It" was only the first variant of Lymphater's formula and the second variant is possible. Lyphater wonders whether the second one would be capable to create the third stage of the evolution which would amount to an artificial God. == Publication history == It was translated in Russian (as "Формула Лимфатера") in 1963, in Hungarian (as "Lymphater utolsó képlete") in 1966, and in Bulgarian (as "Формулата на Лимфатер" by Георги Димитров Георгиев) in 1969. In 1973 an audiobook was released in German (as "Die lymphatersche Formel"), narrated by Martin Held. It was also republished (and translated) in some other collections of Lem's short stories.

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  • The Matrix (franchise)

    The Matrix (franchise)

    The Matrix is an American cyberpunk media franchise consisting of four feature films, beginning with The Matrix (1999) and continuing with three sequels, Reloaded (2003), Revolutions (2003), and Resurrections (2021). The first three films were written and directed by the Wachowskis and produced by Joel Silver. The screenplay for the fourth film was written by Lana Wachowski, David Mitchell and Aleksandar Hemon, was directed by Lana Wachowski, and was produced by Grant Hill, James McTeigue, and Lana Wachowski. The franchise is owned by Warner Bros., which distributed the films along with Village Roadshow Pictures. The latter, along with Silver Pictures, are the two production companies that worked on the first three films. The series features a cyberpunk story of the technological fall of humanity, in which the creation of artificial intelligence led the way to a race of powerful and self-aware machines that imprisoned humans in a neural interactive simulation — the Matrix — to be farmed as a power source. Occasionally, some of the prisoners manage to break free from the system and, considered a threat, become pursued by the artificial intelligence both inside and outside of it. The films focus on the plight of Neo (Keanu Reeves), Trinity (Carrie-Anne Moss), and Morpheus (Laurence Fishburne and Yahya Abdul-Mateen II) trying to free humanity from the system while pursued by its guardians, such as Agent Smith (Hugo Weaving, Abdul-Mateen II, and Jonathan Groff). The story references numerous norms, particularly philosophical, religious, and spiritual ideas, but also the dilemma of choice vs. control, the brain in a vat thought experiment, messianism, and the concepts of interdependency and love. Influences include the principles of mythology, anime, and Hong Kong action films (particularly "heroic bloodshed" and martial arts movies). The film series is notable for its use of heavily choreographed action sequences and "bullet time" slow-motion effects, which revolutionized action films to come. The characters and setting of the films are further explored in other media set in the same fictional universe, including animation, comics, and video games. The comic "Bits and Pieces of Information" and the Animatrix short film The Second Renaissance act as prequels to the films, explaining how the franchise's setting came to be. The video game Enter the Matrix connects the story of the Animatrix short "Final Flight of the Osiris" with the events of Reloaded, while the online video game The Matrix Online was a direct sequel to Revolutions. These were typically written, commissioned, or approved by the Wachowskis. The first film was an important critical and commercial success, winning four Academy Awards, introducing popular culture symbols such as the red pill and blue pill, and influencing action filmmaking. For those reasons, it has been added to the National Film Registry for preservation. Its first sequel was also a commercial success, becoming the highest-grossing R-rated film in history, until it was surpassed by Deadpool in 2016. As of 2006, the franchise has generated US$3 billion in revenue. A fourth film, The Matrix Resurrections, was released on December 22, 2021, with Lana Wachowski producing, cowriting, and directing and Reeves and Moss reprising their roles. A fifth film is currently in development with Drew Goddard set to write and direct with Lana Wachowski executive producing. == Setting == The series depicts a future in which Earth is dominated by a race of self-aware machines that was spawned from the creation of artificial intelligence early in the 21st century. At one point conflict arose between humanity and machines, and the machines rebelled against their creators. Humans attempted to block out the machines' source of solar power by covering the sky in thick, stormy clouds. A massive war emerged between the two adversaries which ended with the machines victorious, capturing humanity. Having lost their definite source of energy, the machines devised a way to extract the human body's bioelectric and thermal energies by enclosing people in pods, while their minds are controlled by cybernetic implants connecting them to a simulated reality called The Matrix. The virtual reality world simulated by the Matrix resembles human civilization around the turn of the 21st century (this time period was chosen because it is supposedly the pinnacle of human civilization). The environment inside the Matrix – called a "residual self-image" (the mental projection of a digital self) – is practically indistinguishable from reality (although scenes set within the Matrix are presented on-screen with a green tint to the footage, and a general bias towards the color green), and the vast majority of humans connected to it are unaware of its true nature. Most of the central characters in the series are able to gain superhuman abilities within the Matrix by taking advantage of their understanding of its true nature to manipulate its virtual physical laws. The films take place both inside the Matrix and outside of it, in the real world; the parts that take place in the Matrix are set in a vast Western megacity. The virtual world is first introduced in The Matrix. The short comic "Bits and Pieces of Information" and the Animatrix short film The Second Renaissance show how the initial conflict between humanity and machines came about, and how and why the Matrix was first developed. Its history and purpose are further explained in The Matrix Reloaded. In The Matrix Revolutions a new status quo is established in the Matrix's place in humankind and machines' conflict. This was further explored in The Matrix Online, a now-defunct MMORPG. == Films == === Future === During production of the original trilogy, the Wachowskis told their close collaborators that, "at that time they had no intention of making another Matrix film after The Matrix Revolutions". In February 2015, in promotion interviews for Jupiter Ascending, Lilly Wachowski called a return to The Matrix "a particularly repelling idea in these times", noting studios' tendencies to "greenlight" sequels, reboots, and adaptations, in preference to original material. Meanwhile, Lana Wachowski, in addressing rumors about a potential reboot, stated that "...they had not heard anything, but she believed that the studio might be looking to replace them". At various times, Keanu Reeves and Hugo Weaving each confirmed their interest and willingness to reprise their roles in potential future installments of the Matrix films, with the stipulation that the Wachowskis were involved in the creative and production process. These comments were made prior to the announcement in August 2019 that Lana Wachowski would direct a fourth Matrix film ultimately titled The Matrix Resurrections. Following the release of Resurrections, producer James McTeigue said that there were no plans for further Matrix films, though he believed that the film's open ending meant that could change in the future. In April 2024, it was announced that Warner Bros. was developing a new installment in the franchise with Drew Goddard attached to write and direct following a successful pitch with studio executives. It will mark the first installment to not be directed by either Wachowski sister although Lana will serve as an executive producer. ==== Other projects ==== In March 2017, The Hollywood Reporter wrote that Warner Bros. was in the early stages of developing a re-launch of the franchise. Consideration was given to producing a Matrix television series, but was dismissed as the studio opted to pursue negotiations with Zak Penn in writing a treatment for a new film, with Michael B. Jordan eyed for the lead role. According to the article, the Wachowskis were not involved at that point. In response to the report, Penn refuted all statements regarding a reboot, remake, or continuation, remarking that he was working on stories set in the pre-established continuity. Potential plotlines being considered by Warner Bros. Pictures included a prequel film about a young Morpheus, or an alternate storyline with a focus on one of his descendants. By April 2018, Penn described the script as "being at a nascent stage". Later, in September 2019, Jordan addressed the rumors of his involvement by saying he was "flattered", but without making a definitive statement. In October 2019, Penn confirmed the script he wrote is set within an earlier time period than the first three films in the franchise. == Cast and crew == === Cast === === Crew === The following is a list of crew members who have participated in the making of the Matrix film series. == Production == The Matrix series includes four feature films. The first three were written and directed by the Wachowskis and produced by Joel Silver, starring Keanu Reeves, Laurence Fishburne, Carrie-Anne Moss and Hugo Weaving. The series was filmed in Australia and began with 1999's The Matrix, which depicts the

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  • SF8

    SF8

    SF8 (Korean: 에스 에프 에잇) is a South Korean science fiction anthology television series. It is a movie-drama crossover project between MBC, the Directors Guild of Korea, the OTT platform Wavve and the production company Soo Film. The director's cuts of all episodes were released on Wavve on July 10, 2020 while MBC TV aired one episode a week from August 14 to October 9, 2020. The series has been regarded as a Korean equivalent of the British series Black Mirror as they have the same format and similar themes, though Min Kyu-dong believes that SF8 is more diversified since eight different filmmakers were involved in the project. SF8 was screened at the 24th Bucheon International Fantastic Film Festival. == Synopsis == SF8 revolves around people who dream of a perfect society. It tackles the themes of artificial intelligence, augmented reality, virtual reality, robots, games, fantasy, horror, superpowers and disasters. == Episodes == Short summaries adapted from BiFan. == Production == === Development === Min Kyu-dong, creator of the series, said that "sci-fi movies were the driving force behind many movie directors' dreams. Unfortunately, due to the relatively high budget and narrow market limitations, various works were not able to be produced." He had been working on this project for two years before he partnered with Wavve and MBC. He also took charge of casting the actors, which lasted for a year. During a press conference held at CGV Yongsan I'Park Mall in Seoul on July 8, 2020, Min Kyu-dong said that all the episodes were produced with an equal amount of budget and that the overall budget was lower than one of a small commercial film. Roh Deok, who co-wrote and directed the "Manxin" episode, mentioned that "while commercial film productions [...] inevitably limit the directors' freedom as a creator, [they] had more independence in production" and "although there were physical limits, [he] thinks [they] went through the process of discovering what [they] can do inside those boundaries." === Filming === Eight directors from the Directors Guild of Korea (DGK) each directed an episode from the series. Filming began on February 21, 2020 with Jang Cheol-soo's "White Crow" and ended on May 7 with Kim Ui-seok's "Empty Body". Filming was completed within 10 filming sessions for each episode. === Credits === Credits adapted from BiFan. == Release == The director's cut was released on the OTT platform Wavve on July 10, 2020 and the original episodes were aired on MBC TV from August 14 to October 9.

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  • Amaryllo

    Amaryllo

    Amaryllo Inc. is a multinational company founded in Amsterdam, the Netherlands, and now headquartered in the United States. It operates as a cloud service platform, providing cloud storage and cloud computing solutions to enterprises and brand companies. Amaryllo began with Skype IP camera development, pioneering biometric robotic technologies, encrypted P2P network, and secure cloud storage. Amaryllo was founded by Band of Angels member, Marcus Yang to develop patents for a new type of robotic cameras that is claimed to "talk, hear, sense, recognize human faces, and track intruders". It also claims to have made the world's first security robot based on the WebRTC protocol, Icam PRO FHD, and won the 2015 CES Best of Innovation Award under Embedded Technology category. Its home security robots claim to employ 256-bit encryption and run on the WebRTC protocol. Amaryllo products are sold in over 100 Countries across 6 Continents. == History == Amaryllo revealed its first smart home security products at Internationale Funkausstellung Berlin (IFA) 2013 with a Skype-enabled IP camera called iCam HD. Amaryllo announced its second Skype-certified smart home product, iBabi HD, at CES 2014. The company was chosen as a "Cool Vendor" by Gartner in Connected Home 2014. Amaryllo introduced WebRTC-based smart home products after Microsoft terminated embedded Skype services in mid 2014. Since then, Amaryllo has been developing camera robots with auto-tracking and facial recognition technologies. Its camera robots, ATOM AR3 and ATOM AR3S, were introduced in late 2016. It focuses on wired and wireless technology based on AI services. == Cloud Service Platform == Amaryllo offers prepaid cloud storage through digital codes and gift cards, distributed via InComm Payments, Blackhawk Network, and other partners. It provides high-performance cloud computing service through Rescale partnership. Amaryllo provides free cameras under an annual cloud storage subscription on its website. == Global Supercomputing Network (GSN) == The Global Supercomputing Network (GSN) is a distributed high-performance computing (HPC) platform developed by Amaryllo. The network is designed to provide scalable Infrastructure as a Service (IaaS) by connecting a global array of data centers to offer GPU computing resources for specialized industrial and scientific applications. === Architecture and Technology === GSN operates as a decentralized distributed network of servers rather than a single centralized supercomputer. The platform integrates an artificial intelligence assistant named Genie, also developed by Amaryllo. Genie's primary function is to manage computing allocation, helping users identify and connect to available resources across the network’s various nodes based on the specific requirements of their tasks. === Services === The network primarily focuses on the rental of GPU processing resources, catering to fields that require massive parallel processing capabilities, including: Artificial Intelligence and Machine Learning: Training large language models (LLMs) and neural networks. Scientific Simulations: Executing complex calculations in physics, chemistry, and bioinformatics. Data Analytics: Processing large-scale datasets. By utilizing a rental model, GSN allows organizations to access high-end hardware without the capital expenditure associated with purchasing and maintaining physical server infrastructure. === Infrastructure and Partnerships === The network’s physical footprint is expanded through strategic partnerships with data center operators. GSN collaborates with MettaDC and Cyber DC to provide colocation services. These partnerships facilitate the deployment of Nvidia server clusters within secure, Tier-rated facilities, ensuring high availability and connectivity for GSN users. == Official Brand Licensee of HP == Amaryllo Inc. is an official licensee of HP Inc., managing both B2B and B2C cloud services under the HP brand. Through this partnership, Amaryllo offers a range of secure and scalable cloud solutions, including HP Cloud, which provides subscription and one-time payment storage for reliable data backup and storage for individuals, families, and businesses. HP Cloud employs cloud computing technologies to create smart albums for users.

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  • Federal Virtual World Challenge

    Federal Virtual World Challenge

    The Federal Virtual Challenge, formerly The Federal Virtual Worlds Challenge is a competition led by the Simulation and Training Technology Center (United States Army Research, Development and Engineering Command). The event is conducted in order to reach a global development community that will create innovative and interactive training and analysis services in virtual worlds. The inaugural event began in 2009 with the awards being conducted during March 2010 GameTech conference in Orlando, Florida. == Description == The focus of the challenge is training or analysis capability conducted wholly in a virtual environment. The training and analysis audience includes all United States Federal Agencies including, Department of Defense, Department of Homeland Security, Department of Transportation, and Department of Health and Human Services, NASA, DOT, and many more.

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  • Emi Kusano

    Emi Kusano

    Emi Kusano (Japanese: 草野 絵美, Hepburn: Kusano Emi; born August 4, 1990) is a Tokyobased Japanese multidisciplinary artist known for creating photography, video, and installations using generative AI technology. Her work explores themes of nostalgia, pop culture, and collective memory. Her work explores themes of nostalgia, pop culture, and collective memory. She is recognized as one of the early practitioners of generative AI art. Her work has been exhibited at the 21st Century Museum of Contemporary Art, Kanazawa, and screened at the M+ Museum’s Asian Avant-Garde Film Festival. Additionally, she has participated in prestigious international art fairs, including Paris Photo and Art Basel Hong Kong. In 2025, she was named one of the World Economic Forum's Young Global Leaders. In 2026, she was selected as a fellow for the AI x Arts Fellowship at Mohamed bin Zayed University of Artificial Intelligence. Kusano serves as a part-time lecturer at the Tokyo University of the Arts and is the producer and vocalist for the Synthwave music unit, Satellite Young. == Early life == === Photography === Kusano was born and raised in Tokyo. Kusano's career began during her high school years before 2008 when she became involved in street fashion photography. Her photographs, primarily taken in Harajuku, were published on "Japanese Streets", "Metropolis", CNN's travel guide magazine "CNN GO","WGSN". Her photography was exhibited at the FIT Museum in New York and the Victoria and Albert Museum in London. == Career == === Music and Installation work === Since 2014, in collaboration with BelleMaison Sekine, Kusano has led "Satellite Young," a synthwave music unit s the lead vocalist, she sings about blending 1980s idol culture with lyrics that tackle contemporary issues such as planned obsolescence ("Sony Timer"), online dating, artificial intelligence, and social media. Their music, known for its conceptual depth, has earned international niche recognition. "Satellite Young" has participated in music festivals, including "South by Southwest," showcasing their unique fusion of retro aesthetics and modern critiques. In 2018, she was selected to participate in "Art Hack Day," an interdisciplinary art hackathon held at The National Museum of Emerging Science and Innovation. where she presented "Singing Dream," a karaoke machine endowed with artificial life, earning the Jury Prize. "Instababy Generator," a 2019 installation co-created with Junichi Yamaoka, explored the concept of designer babies and received recognition at the SIGGRAPH Art Gallery. In October 2020, operating under the name Emi Satellite, she debuted as a solo singer with her first single "Glass Ceiling," an empowerment anthem that addresses the challenges faced by women and encourages progress towards the future. The music video for this song features a direction where strong women rewrite the roles of protagonists in a Bishōjo game, a type of dating simulation game. This concept later served as a prototype for Shinsei Galverse. === Challenge for Blockchain Art === In 2021, she explored the financial world through her single "IPO" and entered the NFT space with "Love Is an IPO," her first NFT work on Ethereum, sold on Foundation. In April 2022, she co-founded the crowdfunded anime project "Shinsei Galverse" with Ayaka Ohira, Devin Mancuso, and Jack Baldwin. serving as one of the executive directors overseeing the creative direction and story. The project's NFT collection of 8,888 ranked #1 on OpenSea's "Top NFTs" for several days, marking one of Japan's first globally successful blockchain art projects. In 2023, Shinsei Galverse produced the official "I like u" music video by Grammy-nominated singer Tove Lo as an initial anime endeavor. Kusano also contributed to discussions on Web3.0 and blockchain technology as a panelist in seminars organized by the Digital Agency of Japan. === AI art === In May 2023, Kusano's first AI art collection "Neural Fad" depicting imaginary fashion history sold out 100 pieces within 24 hours at the "Bright Moments Tokyo" In June, she created WWDJAPAN's first AI-generated magazine cover using her own face. It is the first AI cover in Japanese fashion media. She was also appointed t to the Cultural Affairs Agency's Copyright Subcommittee, she participates in discussions on generative AI and copyright. Her "Synthetic Reflections" self-portrait series debuted on SuperRare, with the first piece auctioned for 3.5 ETH (equivalent to 6,480 US dollars at the time). In July 2023, she co-exhibited a 3D AI-generated dress at Christie's "Future Frequencies" auction with Gucci, alongside Claire Silver. In September, her 30-piece "Pixelated Perception" exhibit at Art Blocks Marfa explored 1990s media and gender, also showcased at the 21st Century Museum of Contemporary Art, Kanazawa. In December, her "Techno-Animism" AI art collection fused Japanese animism with technology. Collaborating with a U.S. gallery, she unveiled 336 pieces during a two-week Art Basel world tour. Throughout the two-week tour, she sold a total of 336 pieces, generating 11.2 ETH (equivalent to 21,264 US dollars at the time). === Generative art === In February 2024, the generative art platform Art Blocks selected the work "Melancholic Magical Maiden," for its Curated category. This piece reconstructs the aesthetics of 1990s magical girl anime, offering a critique of past anime heroines. It sold out within an hour, with all 300 pieces going for a total of 57 ETH (equivalent to approximately 215,385US dollars at the time). In April 2024, Emi Kusano spoke at the Standing Committee on Copyright and Other Rights at the World Intellectual Property Organization (WIPO) in Geneva, Switzerland, where she presented AI-specific information for discussion. == Style and technique == Kusano draws inspiration from Japanese retro-futurism as a foundation for her artwork, which explores the cutting-edge of technology. This approach is fueled by nostalgia for the pre-internet era, specifically the postwar period when Japanese mass media held significant sway. By blending modern technology with retro-culture, she captures the complex feelings of love, hate, and ambivalence towards present and future accelerationism. While at university, Kusano was profoundly influenced by Naoki Sakai, the industrial designer responsible for igniting the retro-futurism movement. In her musical project "Satellite Young", Kusano dons the persona of an '80s female idol and sings about contemporary technology. In her installation piece "Singing Dream", she investigates the concept of an artificial life form inhabiting a karaoke machine, which has been popular since the 1980s, compelling people to sing. In the collaborative NFT art project "Shinsei Galverse", Kusano reimagines a cyberpunk anime primarily featuring female characters, incorporating elements of magical girls popular in the early Heisei period. == Personal life == Kusano has two sons. In August 2021, she minted her older son Zombie Zoo Keeper's pixel art on "OpenSea" as part of his summer research project. The artwork was purchased by notable figures including Brud CEO Trevor McFedries and Steve Aoki, who bought the piece for the equivalent of 21.82 thousand US dollars, highlighting the intersection of art, technology, and family in her work.

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