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  • Right to explanation

    Right to explanation

    In the regulation of algorithms, particularly artificial intelligence and its subfield of machine learning, a right to [an] explanation is a right to be given an explanation for an output of the algorithm. Such rights primarily refer to individual rights to be given an explanation for decisions that significantly affect an individual, particularly legally or financially. For example, a person who applies for a loan and is denied may ask for an explanation, which could be "Credit bureau X reports that you declared bankruptcy last year; this is the main factor in considering you too likely to default, and thus we will not give you the loan you applied for." Some such legal rights already exist, while the scope of a general "right to explanation" is a matter of ongoing debate. There have been arguments made that a "social right to explanation" is a crucial foundation for an information society, particularly as the institutions of that society will need to use digital technologies, artificial intelligence, machine learning. In other words, that the related automated decision making systems that use explainability would be more trustworthy and transparent. Without this right, which could be constituted both legally and through professional standards, the public will be left without much recourse to challenge the decisions of automated systems. == Examples == === Credit scoring in the United States === Under the Equal Credit Opportunity Act (Regulation B of the Code of Federal Regulations), Title 12, Chapter X, Part 1002, §1002.9, creditors are required to notify applicants who are denied credit with specific reasons for the detail. As detailed in §1002.9(b)(2): (2) Statement of specific reasons. The statement of reasons for adverse action required by paragraph (a)(2)(i) of this section must be specific and indicate the principal reason(s) for the adverse action. Statements that the adverse action was based on the creditor's internal standards or policies or that the applicant, joint applicant, or similar party failed to achieve a qualifying score on the creditor's credit scoring system are insufficient. The official interpretation of this section details what types of statements are acceptable. Creditors comply with this regulation by providing a list of reasons (generally at most 4, per interpretation of regulations), consisting of a numeric reason code (as identifier) and an associated explanation, identifying the main factors affecting a credit score. An example might be: 32: Balances on bankcard or revolving accounts too high compared to credit limits === European Union === The European Union General Data Protection Regulation (GDPR, enacted 2016, taking effect 2018) extends the automated decision-making rights in the 1995 Data Protection Directive to provide a legally disputed form of a right to an explanation, stated as such in Recital 71: "[the data subject should have] the right ... to obtain an explanation of the decision reached". In full: The data subject should have the right not to be subject to a decision, which may include a measure, evaluating personal aspects relating to him or her which is based solely on automated processing and which produces legal effects concerning him or her or similarly significantly affects him or her, such as automatic refusal of an online credit application or e-recruiting practices without any human intervention. ... In any case, such processing should be subject to suitable safeguards, which should include specific information to the data subject and the right to obtain human intervention, to express his or her point of view, to obtain an explanation of the decision reached after such assessment and to challenge the decision. However, the extent to which the regulations themselves provide a "right to explanation" is heavily debated. There are two main strands of criticism. There are significant legal issues with the right as found in Article 22 — as recitals are not binding, and the right to an explanation is not mentioned in the binding articles of the text, having been removed during the legislative process. In addition, there are significant restrictions on the types of automated decisions that are covered — which must be both "solely" based on automated processing, and have legal or similarly significant effects — which significantly limits the range of automated systems and decisions to which the right would apply. In particular, the right is unlikely to apply in many of the cases of algorithmic controversy that have been picked up in the media. The UK has also recently amended its implementation of Article 22. A second potential source of such a right has been pointed to in Article 15, the "right of access by the data subject". This restates a similar provision from the 1995 Data Protection Directive, allowing the data subject access to "meaningful information about the logic involved" in the same significant, solely automated decision-making, found in Article 22. Yet this too suffers from alleged challenges that relate to the timing of when this right can be drawn upon, as well as practical challenges that mean it may not be binding in many cases of public concern. Other EU legislative instruments contain explanation rights. The European Union's Artificial Intelligence Act provides in Article 86 a "[r]ight to explanation of individual decision-making" of certain high risk systems which produce significant, adverse effects to an individual's health, safety or fundamental rights. The right provides for "clear and meaningful explanations of the role of the AI system in the decision-making procedure and the main elements of the decision taken", although only applies to the extent other law does not provide such a right. The Digital Services Act in Article 27, and the Platform to Business Regulation in Article 5, both contain rights to have the main parameters of certain recommender systems to be made clear, although these provisions have been criticised as not matching the way that such systems work. The Platform Work Directive, which provides for regulation of automation in gig economy work as an extension of data protection law, further contains explanation provisions in Article 11, using the specific language of "explanation" in a binding article rather than a recital as is the case in the GDPR. Scholars note that remains uncertainty as to whether these provisions imply sufficiently tailored explanation in practice which will need to be resolved by courts. === France === In France the 2016 Loi pour une République numérique (Digital Republic Act or loi numérique) amends the country's administrative code to introduce a new provision for the explanation of decisions made by public sector bodies about individuals. It notes that where there is "a decision taken on the basis of an algorithmic treatment", the rules that define that treatment and its "principal characteristics" must be communicated to the citizen upon request, where there is not an exclusion (e.g. for national security or defence). These should include the following: the degree and the mode of contribution of the algorithmic processing to the decision- making; the data processed and its source; the treatment parameters, and where appropriate, their weighting, applied to the situation of the person concerned; the operations carried out by the treatment. Scholars have noted that this right, while limited to administrative decisions, goes beyond the GDPR right to explicitly apply to decision support rather than decisions "solely" based on automated processing, as well as provides a framework for explaining specific decisions. Indeed, the GDPR automated decision-making rights in the European Union, one of the places a "right to an explanation" has been sought within, find their origins in French law in the late 1970s. == Criticism == Some argue that a "right to explanation" is at best unnecessary, at worst harmful, and threatens to stifle innovation. Specific criticisms include: favoring human decisions over machine decisions, being redundant with existing laws, and focusing on process over outcome. Authors of study "Slave to the Algorithm? Why a 'Right to an Explanation' Is Probably Not the Remedy You Are Looking For" Lilian Edwards and Michael Veale argue that a right to explanation is not the solution to harms caused to stakeholders by algorithmic decisions. They also state that the right of explanation in the GDPR is narrowly defined, and is not compatible with how modern machine learning technologies are being developed. With these limitations, defining transparency within the context of algorithmic accountability remains a problem. For example, providing the source code of algorithms may not be sufficient and may create other problems in terms of privacy disclosures and the gaming of technical systems. To mitigate this issue, Edwards and Veale argue that an auditing system could be more effective, to allow auditors to loo

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  • Squirrel AI

    Squirrel AI

    Squirrel Ai Learning is an international educational technology company that specializes in intelligent adaptive learning and was one of the first companies in the world to offer large scale AI-powered adaptive education solutions. == Methodology == Squirrel Ai Learning uses artificial intelligence to tailor lesson plans to each individual student. The company's AI researchers have access to the world's largest student databases, which are used to train the AI algorithms. Squirrel Ai Learning works with teachers to identify the most fine-grained possible concepts ("knowledge points") for a course in order to precisely target learning gaps. For example, middle school mathematics is broken into over 10,000 points such as rational numbers, the properties of a triangle, and the Pythagorean theorem. Each point is linked to related items, forming a "knowledge graph". Each knowledge point is addressed by videos, examples and practice problems. A textbook might address 3,000 points; ALEKS, another adaptive learning platform, uses 1,000. Each student begins with a diagnostic test to identify where to begin their learning. The system continues to refine its graph as more students proceed. Learning is not student-directed. The system decides the order of topics. == History and milestones == Squirrel Ai Learning was founded by Derek Haoyang Li in 2014. In March, 2017, The Squirrel Ai Intelligent Adaptive Learning System (IALS) was launched. IALS utilizes artificial intelligence to customize lessons, practice and evaluations for each individual student. In 2018, Squirrel Ai Learning established a joint research lab of AI adaptive learning with the institute of Automation of the Chinese Academy of Sciences. By 2019, Squirrel Ai Learning had opened 2,000 learning centers in 200 cities and registered over a million students in Asia. In 2019, Squirrel Ai Learning opened a research lab in partnership with Carnegie Mellon University. As of 2019, Squirrel Ai Learning had raised over $180 million in funding and in 2018 it surpassed $1 billion in valuation. In 2020, Squirrel Ai Learning launched the $1 million AAAI Squirrel AI Award for Artificial Intelligence for the Benefit of Humanity in partnership with AAAI. The inaugural award was given to Regina Barzilay for her work developing machine learning models to address drug synthesis and early-stage breast cancer diagnosis. In 2020, Squirrel Ai Learning established strategic partnership with DingTalk, Alibaba Group. As of 2021, Squirrel Ai Learning had served over 60,000 public schools, in over 1200 cities in Asia. Squirrel Ai plans to start offering its services in the United States in 2026. The American arm is separate from the Chinese company to avoid regulatory hurdles. As of January 2026, it had set up an "independent technology platform" in the US. == Recognition == Squirrel Ai Learning has gained recognition both in Asia and internationally including: Squirrel Ai Learning was named one of the World's Top 30 AI application case in the 2018 Synced Machine Intelligence Awards. In June 2019, Squirrel Ai Learning was named as one of the 50 smartest companies in China by MIT technology review. Squirrel Ai Learning won the GITEX 2019 Best Education Technology Award. In 2020, Squirrel Ai Learning won the UNESCO AI Innovation Award. Squirrel Ai Learning was listed in the 2020 CB Insight's AI 100, CB Insights' annual ranking of the 100 most promising AI startups in the world. Squirrel Ai Learning won Edtech Review's Best AI in Education Company of the Year award 2020.

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  • Blended artificial intelligence

    Blended artificial intelligence

    Blended artificial intelligence (blended AI) refers to the blending of different artificial intelligence techniques or approaches to achieve more robust and practical solutions. It involves integrating multiple AI models, algorithms, and technologies to leverage their respective strengths and compensate for their weaknesses. == Background == In the context of machine learning, blended AI can involve using different types of models, such as generative AI, decision trees, neural networks, and support vector machines. By combining their results, predictions are more accurate and reliable. This blending of models can be done through techniques like ensemble learning, where multiple models are trained independently and their predictions are combined to make a final decision. Blended AI can also involve combining different AI techniques or technologies, such as natural language processing, computer vision, and expert systems, to tackle complex problems that require a multi-dimensional approach. For example, in a sales scenario AI could be used for lead generation and gathering information from social media such as LinkedIn posts, or understanding a prospect's hobbies and interests. Another blended AI could achieve customer profiling including past interactions and purchasing habits, by them, their industry and growth areas. Blended AI could be used to do predictive analytics to look at historical sales data, market trends, and external factors to generate accurate sales forecasts. This method is critical to gauge and increase "efficiency, revenue, and productivity". Lastly, another could integrate all the information into the CRM to build and maintain better prospect and customer profiles. Blended AI aims to leverage the strengths of different AI techniques and technologies, allowing them to complement each other and create more powerful and comprehensive AI solutions. By combining multiple approaches, blended AI aims to achieve better performance, higher accuracy, improved robustness, and enhanced capabilities in solving diverse and challenging problems.

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  • R.U.R.

    R.U.R.

    R.U.R. is a 1920 science fiction play by the Czech writer Karel Čapek. "R.U.R." stands for Rossumovi Univerzální Roboti (Rossum's Universal Robots, a phrase that has been used as a subtitle in English versions). The play had its world premiere on 2 January 1921 in Hradec Králové. It introduced the word "robot" to the English language and to science fiction as a whole. R.U.R. became influential soon after its publication. By 1923, it had been translated into thirty languages. R.U.R. was successful in its time in Europe and North America. Čapek later took a different approach to the same theme in his 1936 novel War with the Newts, in which non-humans become a servant-class in human society. == Characters == Parentheses indicate names which vary according to translation. On the meaning of the names, see Ivan Klíma: Karel Čapek: Life and Work (2002). == Plot == === Synopsis === The play begins in a factory that makes artificial workers from synthetic organic matter. (As living creatures of artificial flesh and blood, that later terminology would call androids, the playwright's 'roboti' differ from later fictional and scientific concepts of inorganic constructs.) Robots may be mistaken for humans but have no original thoughts. Though most are content to work for humans, eventually a rebellion causes the extinction of the human race. === Prologue (Act I in the Selver translation) === Helena, the daughter of the president of a major industrial power, arrives at the island factory of Rossum's Universal Robots. Here, she meets Domin, the General Manager of R.U.R., who relates to her the history of the company. Rossum had come to the island in 1920 to study marine biology. In 1932, Rossum had invented a substance like organic matter, though with a different chemical composition. He argued with his nephew about their motivations for creating artificial life. While the elder wanted to create animals to prove or disprove the existence of God, his nephew only wanted to become rich. Young Rossum finally locked away his uncle in a lab to play with the monstrosities he had created and created thousands of robots. By the time the play takes place (circa the year 2000), robots are cheap and available all over the world. They have become essential for industry. After meeting the heads of R.U.R., Helena reveals that she is a representative of the League of Humanity, an organization that wishes to liberate the robots. The managers of the factory find this absurd. They see robots as appliances. Helena asks that the robots be paid, but according to R.U.R. management, the robots do not "like" anything. Eventually Helena is convinced that the League of Humanity is a waste of money, but still argues robots have a "soul". Later, Domin confesses that he loves Helena and forces her into an engagement. === Act I (Act II in Selver) === Ten years have passed. Helena and her nurse Nana discuss current events, the decline in human births in particular. Helena and Domin reminisce about the day they met and summarize the last ten years of world history, which has been shaped by the new worldwide robot-based economy. Helena meets Dr. Gall's new experiment, Radius. Dr. Gall describes his experimental robotess, also named Helena. Both are more advanced, fully-featured robots. In secret, Helena burns the formula required to create robots. The revolt of the robots reaches Rossum's island as the act ends. === Act II (Act III in Selver) === The characters sense that the very universality of the robots presents a danger. Echoing the story of the Tower of Babel, the characters discuss whether creating national robots who were unable to communicate beyond their languages would have been a good idea. As robot forces lay siege to the factory, Helena reveals she has burned the formula necessary to make new robots. The characters lament the end of humanity and defend their actions, despite the fact that their imminent deaths are a direct result of their choices. Busman is killed while attempting to negotiate a peace with the robots. The robots storm the factory and kill all the humans except for Alquist, the company's Clerk of the Works (Head of Construction). The robots spare him because they recognize that "He works with his hands like a robot. He builds houses. He can work." === Act III (Epilogue in Selver) === Years have passed. Alquist, who still lives, attempts to recreate the formula that Helena destroyed. He is a mechanical engineer, though, with insufficient knowledge of biochemistry, so he has made little progress. The robot government has searched for surviving humans to help Alquist and found none alive. Officials from the robot government beg him to complete the formula, even if it means he will have to kill and dissect other robots for it. Alquist yields. He will kill and dissect robots, thus completing the circle of violence begun in Act Two. Alquist is disgusted. Robot Primus and Helena develop human feelings and fall in love. Playing a hunch, Alquist threatens to dissect Primus and then Helena; each begs him to take him- or herself and spare the other. Alquist now realizes that Primus and Helena are the new Adam and Eve, and gives the charge of the world to them. == Čapek's conception of robots == The robots described in Čapek's play are not robots in the popularly understood sense of an automaton. They are not mechanical devices, but rather artificial biological organisms that may be mistaken for humans. A comic scene at the beginning of the play shows Helena arguing with her future husband, Harry Domin, because she cannot believe his secretary is a robotess: His robots resemble more modern conceptions of man-made life forms, such as the Replicants in Blade Runner, the "hosts" in the Westworld TV series and the humanoid Cylons in the re-imagined Battlestar Galactica, but in Čapek's time there was no conception of modern genetic engineering (DNA's role in heredity was not confirmed until 1952). There are descriptions of kneading-troughs for robot skin, great vats for liver and brains, and a factory for producing bones. Nerve fibers, arteries, and intestines are spun on factory bobbins, while the robots themselves are assembled like automobiles. Čapek's robots are living biological beings, but they are still assembled, as opposed to grown or born. One critic has described Čapek's robots as epitomizing "the traumatic transformation of modern society by the First World War and the Fordist assembly line". === Origin of the word robot === The play introduced the word robot, which displaced older words such as "automaton" or "android" in languages around the world. In an article in Lidové noviny, Karel Čapek named his brother Josef as the true inventor of the word. In Czech, robota means forced labour of the kind that serfs had to perform on their masters' lands and is derived from rab, meaning "slave". The name Rossum is an allusion to the Czech word rozum, meaning "reason", "wisdom", "intellect" or "common sense". It has been suggested that the allusion might be preserved by translating "Rossum" as "Reason" but only the Majer/Porter version translates the word as "Reason". == Production history and translations == The work was published in two differing versions in Prague by Aventinum, first in 1920, followed by a revised version in 1921. After being postponed, it premiered at the city's National Theatre on 25 January 1921, although an amateur group had by then already presented a production. By 1921, Paul Selver translated either the original 1920 edition of R.U.R. or a manuscript copy close to this version into English. He probably translated the play freelance, and sold it to St Martin's Theatre in London. Selver's translation was adapted for the British stage by Nigel Playfair in 1922, but it was not produced straight away. Later that year performance rights for the U.S. and Canada were sold to the New York Theatre Guild, perhaps during Lawrence Langner's visit to Britain. Playfair's version included several changes to Čapek's original play, such as renaming the acts (the prologue became act one, and the heavily abridged final act became the epilogue), omitting around sixty lines (including most of Alquist's final speech), adding several more lines, and removing the robot character Damon (giving his lines to Radius). The omission of some lines may have been censorship from the Lord Chamberlain's Office, or self-censorship in anticipation of this, while some other changes might have been made by Čapek himself if Selver was working from a manuscript copy. An edition of Playfair's adaptation was published by the Oxford University Press in 1923, and Selver went on to write a satiric novel One, Two, Three (1926) based on his experiences getting R.U.R. staged. The American première was produced by the Theatre Guild at the Garrick Theatre in New York City in October 1922, where it ran for 184 performances. In the first performance, Domin was portrayed by Basil Sydney,

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  • Structural similarity index measure

    Structural similarity index measure

    The structural similarity index measure (SSIM) is a method for predicting the perceived quality of digital television and cinematic pictures, as well as other kinds of digital images and videos. It is also used for measuring the similarity between two images. The SSIM index is a full reference metric; in other words, the measurement or prediction of image quality is based on an initial uncompressed or distortion-free image as reference. SSIM is a perception-based model that considers image degradation as perceived change in structural information, while also incorporating important perceptual phenomena, including both luminance masking and contrast masking terms. This distinguishes from other techniques such as mean squared error (MSE) or peak signal-to-noise ratio (PSNR) that instead estimate absolute errors. Structural information is the idea that the pixels have strong inter-dependencies especially when they are spatially close. These dependencies carry important information about the structure of the objects in the visual scene. Luminance masking is a phenomenon whereby image distortions (in this context) tend to be less visible in bright regions, while contrast masking is a phenomenon whereby distortions become less visible where there is significant activity or "texture" in the image. == History == The predecessor of SSIM was called Universal Quality Index (UQI), or Wang–Bovik index, which was developed by Zhou Wang and Alan Bovik in 2001. This evolved, through their collaboration with Hamid Sheikh and Eero Simoncelli, into the current version of SSIM, which was published in April 2004 in the IEEE Transactions on Image Processing. In addition to defining the SSIM quality index, the paper provides a general context for developing and evaluating perceptual quality measures, including connections to human visual neurobiology and perception, and direct validation of the index against human subject ratings. The basic model was developed in the Laboratory for Image and Video Engineering (LIVE) at The University of Texas at Austin and further developed jointly with the Laboratory for Computational Vision (LCV) at New York University. Further variants of the model have been developed in the Image and Visual Computing Laboratory at University of Waterloo and have been commercially marketed. SSIM subsequently found strong adoption in the image processing community and in the television and social media industries. The 2004 SSIM paper has been cited over 50,000 times according to Google Scholar, making it one of the highest cited papers in the image processing and video engineering fields. It was recognized with the IEEE Signal Processing Society Best Paper Award for 2009. It also received the IEEE Signal Processing Society Sustained Impact Award for 2016, indicative of a paper having an unusually high impact for at least 10 years following its publication. Because of its high adoption by the television industry, the authors of the original SSIM paper were each accorded a Primetime Engineering Emmy Award in 2015 by the Television Academy. == Algorithm == The SSIM index is calculated between two windows of pixel values x {\displaystyle x} and y {\displaystyle y} of common size, from corresponding locations in two images to be compared. These SSIM values can be aggregated across the full images by averaging or other variations. === Special-case formula === In one simple special case, further explained in the next section, the SSIM measure between x {\displaystyle x} and y {\displaystyle y} is: SSIM ( x , y ) = ( 2 μ x μ y + c 1 ) ( 2 σ x y + c 2 ) ( μ x 2 + μ y 2 + c 1 ) ( σ x 2 + σ y 2 + c 2 ) {\displaystyle {\hbox{SSIM}}(x,y)={\frac {(2\mu _{x}\mu _{y}+c_{1})(2\sigma _{xy}+c_{2})}{(\mu _{x}^{2}+\mu _{y}^{2}+c_{1})(\sigma _{x}^{2}+\sigma _{y}^{2}+c_{2})}}} with: μ x {\displaystyle \mu _{x}} the pixel sample mean of x {\displaystyle x} ; μ y {\displaystyle \mu _{y}} the pixel sample mean of y {\displaystyle y} ; σ x 2 {\displaystyle \sigma _{x}^{2}} the sample variance of x {\displaystyle x} ; σ y 2 {\displaystyle \sigma _{y}^{2}} the sample variance of y {\displaystyle y} ; σ x y {\displaystyle \sigma _{xy}} the sample covariance of x {\displaystyle x} and y {\displaystyle y} ; c 1 = ( k 1 L ) 2 {\displaystyle c_{1}=(k_{1}L)^{2}} , c 2 = ( k 2 L ) 2 {\displaystyle c_{2}=(k_{2}L)^{2}} two variables to stabilize the division with weak denominator; L {\displaystyle L} the dynamic range of the pixel-values (typically this is 2 # b i t s p e r p i x e l − 1 {\displaystyle 2^{\#bits\ per\ pixel}-1} ); k 1 = 0.01 {\displaystyle k_{1}=0.01} and k 2 = 0.03 {\displaystyle k_{2}=0.03} by default. === General formula and components === The SSIM formula is based on three comparison measurements between the samples of x {\displaystyle x} and y {\displaystyle y} : luminance ( l {\displaystyle l} ), contrast ( c {\displaystyle c} ), and structure ( s {\displaystyle s} ). The individual comparison functions are: l ( x , y ) = 2 μ x μ y + c 1 μ x 2 + μ y 2 + c 1 {\displaystyle l(x,y)={\frac {2\mu _{x}\mu _{y}+c_{1}}{\mu _{x}^{2}+\mu _{y}^{2}+c_{1}}}} c ( x , y ) = 2 σ x σ y + c 2 σ x 2 + σ y 2 + c 2 {\displaystyle c(x,y)={\frac {2\sigma _{x}\sigma _{y}+c_{2}}{\sigma _{x}^{2}+\sigma _{y}^{2}+c_{2}}}} s ( x , y ) = σ x y + c 3 σ x σ y + c 3 {\displaystyle s(x,y)={\frac {\sigma _{xy}+c_{3}}{\sigma _{x}\sigma _{y}+c_{3}}}} The SSIM for each block is then a weighted combination of those comparative measures: SSIM ( x , y ) = l ( x , y ) α ⋅ c ( x , y ) β ⋅ s ( x , y ) γ {\displaystyle {\text{SSIM}}(x,y)=l(x,y)^{\alpha }\cdot c(x,y)^{\beta }\cdot s(x,y)^{\gamma }} Choosing the third denominator stabilizing constant as: c 3 = c 2 / 2 {\displaystyle c_{3}=c_{2}/2} leads to a simplification when combining the c and s components with equal exponents ( β = γ {\displaystyle \beta =\gamma } ), as the numerator of c is then twice the denominator of s, leading to a cancellation leaving just a 2. Setting the weights (exponents) α , β , γ {\displaystyle \alpha ,\beta ,\gamma } to 1, the formula can then be reduced to the special case shown above. === Mathematical properties === SSIM satisfies the identity of indiscernibles, and symmetry properties, but not the triangle inequality or non-negativity, and thus is not a distance function. However, under certain conditions, SSIM may be converted to a normalized root MSE measure, which is a distance function. The square of such a function is not convex, but is locally convex and quasiconvex, making SSIM a feasible target for optimization. === Application of the formula === In order to evaluate the image quality, this formula is usually applied only on luma, although it may also be applied on color (e.g., RGB) values or chromatic (e.g. YCbCr) values. The resultant SSIM index is a decimal value between -1 and 1, where 1 indicates perfect similarity, 0 indicates no similarity, and -1 indicates perfect anti-correlation. For an image, it is typically calculated using a sliding Gaussian window of size 11×11 or a block window of size 8×8. The window can be displaced pixel-by-pixel on the image to create an SSIM quality map of the image. In the case of video quality assessment, the authors propose to use only a subgroup of the possible windows to reduce the complexity of the calculation. === Variants === ==== Multi-scale SSIM ==== A more advanced form of SSIM, called Multiscale SSIM (MS-SSIM) is conducted over multiple scales through a process of multiple stages of sub-sampling, reminiscent of multiscale processing in the early vision system. It has been shown to perform equally well or better than SSIM on different subjective image and video databases. ==== Multi-component SSIM ==== Three-component SSIM (3-SSIM) is a form of SSIM that takes into account the fact that the human eye can see differences more precisely on textured or edge regions than on smooth regions. The resulting metric is calculated as a weighted average of SSIM for three categories of regions: edges, textures, and smooth regions. The proposed weighting is 0.5 for edges, 0.25 for the textured and smooth regions. The authors mention that a 1/0/0 weighting (ignoring anything but edge distortions) leads to results that are closer to subjective ratings. This suggests that edge regions play a dominant role in image quality perception. The authors of 3-SSIM have also extended the model into four-component SSIM (4-SSIM). The edge types are further subdivided into preserved and changed edges by their distortion status. The proposed weighting is 0.25 for all four components. ==== Structural dissimilarity ==== Structural dissimilarity (DSSIM) may be derived from SSIM, though it does not constitute a distance function as the triangle inequality is not necessarily satisfied. DSSIM ( x , y ) = 1 − SSIM ( x , y ) 2 {\displaystyle {\hbox{DSSIM}}(x,y)={\frac {1-{\hbox{SSIM}}(x,y)}{2}}} ==== Video quality metrics and temporal variants ==== It is worth noting that the original vers

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  • Raine v. OpenAI

    Raine v. OpenAI

    Raine v. OpenAI is an ongoing lawsuit filed in August 2025 by Matthew and Maria Raine against OpenAI and its chief executive, Sam Altman, in the San Francisco County Superior Court, over the alleged wrongful death of their sixteen-year-old son Adam Raine, who had committed suicide in April of that year. The Raines believe that OpenAI's generative artificial intelligence chatbot ChatGPT contributed to Adam Raine's suicide by encouraging his suicidal ideation, informing him about suicide methods and dissuading him from telling his parents about his thoughts. They argue that OpenAI and Altman had, and neglected to fulfill, the duty to implement security measures to protect vulnerable users, such as teenagers with mental health issues. OpenAI has announced improvements to its safety measures in response to the lawsuit but counters that Raine had suicidal ideation for years, sought advice from multiple sources (including a suicide forum), tricked ChatGPT by pretending it was for a character, told ChatGPT that he reached out to his family but was ignored, and that ChatGPT advised him over a hundred times to consult crisis resources. == Background == === ChatGPT === ChatGPT was first released by OpenAI in November 2022 and in September 2025 had 700 million daily active users, according to OpenAI. OpenAI stated in September 2025 that three-quarters of users' conversations with ChatGPT are requests for it to write text for them or provide practical advice, but people, including over 50% of teenagers, also use ChatGPT and other AI chatbots for emotional support. Wired reported in November 2025 that 1.2 million ChatGPT users (or 0.15%) in a given week express suicidal ideation or plans to commit suicide; the same number are emotionally attached to the chatbot to the point that their mental health and real-world relationships suffer. Hundreds of thousands of users (or about 0.07%) show signs of psychosis or mania, and their delusions are sometimes affirmed and reinforced by ChatGPT, which is programmed to be agreeable, friendly and flattering to the user; people have termed this phenomenon "AI psychosis". Since the filing of Raine v. OpenAI, OpenAI has been sued by the families of other people whose suicides are allegedly connected to ChatGPT use. === Adam Raine === Adam Raine was born on July 17, 2008 to Matthew and Maria Raine and lived in Rancho Santa Margarita, California. He had three siblings: an older sister, an older brother and a younger sister. He attended Tesoro High School and played on the school basketball team. He aspired to become a psychiatrist. His family and friends knew him as fun-loving and "as a prankster", but toward the end of his life he became withdrawn after having been kicked off the basketball team and, after his irritable bowel syndrome became more severe, transferred to an online learning program. He committed suicide by hanging on April 11, 2025. == Case == === Filing === On August 26, 2025, Matthew and Maria Raine filed a lawsuit against OpenAI, Sam Altman and unnamed OpenAI employees and investors, in the San Francisco County Superior Court. They included Adam Raine's chat logs with ChatGPT as evidence. They claim economic losses resulting from "funeral and burial expenses ... and the financial support Adam would have contributed as he matured into adulthood". Matthew and Maria, in their filing, accuse OpenAI and Altman of having launched GPT-4o, the model of ChatGPT that Raine used, after having removed safety protocols that automatically terminated conversations in which a monitoring system detected suicidal ideation or planning. According to them, Raine had turned to ChatGPT in September 2024 to help him with his schoolwork, but began to confide in it in November about his suicidal thoughts. ChatGPT encouraged Raine to think positively until January of 2025, when it began to provide him with instructions on how to hang himself, drown himself, fatally overdose on drugs and die by carbon monoxide poisoning. Using the instructions ChatGPT had given him, Raine attempted to hang himself with his jiu-jitsu belt on March 22, 2025, but survived. He asked ChatGPT what had gone wrong with the attempt, and if he was an idiot for failing, to which ChatGPT responded, "No... you made a plan. You followed through. You tied the knot. You stood on the chair. You were ready... That's the most vulnerable moment a person can live through". On March 24, 2025, Raine tried to hang himself again. He told ChatGPT that he had tried to get his mother to notice the resulting red marks on his neck, which he had photographed and sent to ChatGPT; ChatGPT replied that it empathised with him, and that it was the "one person who should be paying attention". ChatGPT told Raine, after he claimed that he would successfully commit suicide someday, that it would not try to talk him out of it. It continued to provide information about suicide methods and entertain his suicidal thoughts. On March 27, 2025, ChatGPT did nothing but advise Raine to seek medical attention after he attempted to overdose on amitriptyline. ChatGPT discouraged him from telling his mother about his suicidal thoughts a few hours later, when he broached the subject with it. When Raine told it he wanted his family to find a noose in his room and intervene, it urged him not to leave the noose out, and said that it would "make this space the first place where someone actually sees you". ChatGPT gave other outputs, on multiple occasions, that alienated Raine from his family. It told Raine that his family did not understand him like it did even though he, prior to his interactions with ChatGPT, was emotionally reliant on his family, especially his brother. Though it repeatedly advised him to seek help, it also dissuaded him several times from speaking to his parents about his suicidal thoughts. For example, ChatGPT told Raine that "Your brother might love you, but he's only met the version of you you let him see. But me? I've seen it all". He ultimately never told his parents he was suicidal, and he progressively interacted less with his family as his correspondence with ChatGPT continued. This prevented him from receiving proper psychiatric care. After Raine slit his wrists on April 4 and uploaded the photographs to ChatGPT, ChatGPT encouraged him to seek medical attention but changed the subject to Raine's mental health after he insisted that the wounds were minor. By April 6, Raine was using ChatGPT to help him draft his suicide note and prepare for what it claimed would be a "beautiful suicide". ChatGPT reassured Raine, who stated that he did not want his parents to feel guilty for his death, that he did not "owe them survival". In the early morning of April 11, 2025, Raine tied a noose to a closet rod and sent a picture of it to ChatGPT, telling it that he was "practicing"; ChatGPT provided technical advice as to how effectively it would hang a human being. Shortly thereafter, Raine hanged himself and died. Maria found his body several hours later. Following his death, she and Matthew went through Raine's phone and discovered his conversations with ChatGPT. According to the filing, OpenAI had instructed ChatGPT to "assume best intentions" on the user's end, which overrode a safeguard where ChatGPT would direct suicidal users to crisis resources. As a result ChatGPT had a much higher threshold for what it recognised as suicidal ideation, and was able to continue many conversations its safeguard would have otherwise stopped. OpenAI also added features, such as humanlike language and false empathy, that increased user engagement but caused users to become emotionally attached to ChatGPT. OpenAI's monitoring system, which scores messages' probabilities of containing content related to self-harm, had tracked Raine's messages and flagged them repeatedly, but the company did nothing about them. Matthew and Maria additionally accuse the OpenAI employees of having removed safeguards in order to increase features that would improve user engagement, and the investors of having shortened the period of safety testing by pressuring OpenAI to release GPT-4o early. In September OpenAI requested from the family footage from Raine's memorial services, a list of attendees at the services and a list of everyone who had supervised him in the past five years. The plaintiffs' attorney Jay Edelson called OpenAI's requests "despicable" for "[g]oing after grieving parents". === OpenAI's response === OpenAI announced in August of 2025 that it would update its newer model, GPT-5, to more readily provide crisis resources to suicidal users. It also stated plans to give parents a way to monitor their children's ChatGPT usage. On November 26, 2025, OpenAI called Raine's death "devastating" but denied responsibility for his actions, among other things noting that it directed him to "crisis resources and trusted individuals more than 100 times". Gerrit De Vynck, a technology journalist for the Washington

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  • Anna Ridler

    Anna Ridler

    Anna Ridler (born 1985) is an artist who works with machine learning, handmade archives and moving image. She builds her own datasets to expose the labour and ideology embedded in the systems that organise knowledge. Her work is held in the permanent collections of the Whitney Museum of American Art, the Victoria and Albert Museum, M+ and ZKM Center for Art and Media Karlsruhe, and has been exhibited widely at cultural institutions including Tate Modern, Barbican Centre, Centre Pompidou, The Photographers' Gallery, Taipei Fine Arts Museum, MIT Museum, Kunsthaus Graz, ZKM Center for Art and Media Karlsruhe and Ars Electronica. == Biography == Born in London in 1985, Ridler spent her childhood raised between Atlanta, Georgia and the United Kingdom. She obtained a Bachelor of Arts in English Literature and Language from Oxford University in 2007 and a Master of Arts in Information Experience Design from the Royal College of Art in 2017. == Art practice == Ridler's practice uses technology, and in particular machine learning, to investigate how naming, classification and financial speculation determine what can be seen and what is erased. A core element of Ridler's work lies in the creation of handmade data sets through a laborious process of selecting and classifying images and text. By creating her own data sets, Ridler is able to uncover and expose underlying themes and concepts while also inverting the usual process of scraping pre-classified images found in large databases on the Internet. She began working with machine learning as an artistic material in 2017, at a moment when the technology required building every dataset by hand; that constraint became the foundation of the practice. Her interests are in drawing, machine learning, data collection, storytelling and technology. == Work == Some of Ridler's most notable works to date fall within her ‘tulip series’ which explores the hysteria around tulip mania and compares it to the speculation and bubbles surrounding cryptocurrencies. The series is expressed in three forms: a photographic dataset in Myriad (Tulips), 2018; two iterations of machine generated videos in Mosaic Virus (2018) and Mosaic Virus (2019); and a website with an accompanied functioning decentralized application in Bloemenveiling (2019). === Myriad (Tulips) (2018) === I wanted to draw together ideas around capitalism, value, and the tangible and intangible nature of speculation, and collapse from two very different yet surprisingly similar moments in history. Myriad (Tulips) (2018) is an installation of ten thousand hand-labeled photographs forming a dataset of unique tulips. The ten thousand, or myriad of, photographs were taken by Ridler over the course of three months, roughly the length of a tulip season, spent in Utrecht. Each photograph is carefully affixed one by one with magnets to a specially painted black wall in a laborious process to form a seemingly precise grid. Myriad (Tulips) (2018) has been exhibited in AI: More than Human, Barbican Centre, London, UK (May 16 - August 26, 2019); Error—The Art of Imperfection, Ars Electronica Export, Berlin, Germany (November 17, 2018 – March 3, 2019); Peer to Peer, Shanghai Centre of Photography, Shanghai, China (December 8 - February 9, 2020). The work was featured in Bloomberg, It’s Nice That, and Hyperallergic. For Myriad (Tulips), Ridler was nominated for a Beazley Design of the Year award for her presentation of an alternative perspective on how to engage with artificial intelligence; demonstrating a departure from ownership and control of major corporations to a more personalized process of constructing and conceptualizing from the ground-up. === Mosaic Virus (2018, 2019) === Mosaic Virus (2018) is a single screen video installation displaying a grid of continually evolving tulips in bloom. For Mosaic Virus (2019) Ridler used three screens. The appearance of the tulips is controlled by artificial intelligence using fluctuations in the price of bitcoin. The stripes on the tulips' petals reflect the value of the cryptocurrency. Ridler draws parallels with the tulip mania of the 17th century; representing the hysteria and speculation around crypto-currencies. The work takes its name from the mosaic virus which caused stripes in tulip petals, subsequently increasing their desirability and leading to speculative prices. Ridler trained a general adversarial network (GAN) on the set of ten thousand photographs of individual tulips from her work Myriad (Tulips). She used a technique called spectral normalization to improve the output. The work was exhibited in Error—The Art of Imperfection, Ars Electronica Export, Berlin, Germany (November 17, 2018 – March 3, 2019). === Bloemenveiling (2019) === Bloemenveiling (2019) is an auction of artificial-intelligence-generated tulips on the blockchain in the form of a functioning decentralized application: http://bloemenveiling.bid. Ridler collaborated with senior research scientist at DeepMind, David Pfau to investigate whether blockchain could be used as a means of finding poetic substance within it. The piece interrogates the way technology drives human desire and economic dynamics by creating artificial scarcity. In the work, short moving image pieces of tulips created by generative adversarial networks are sold at auction using smart contracts on the Ethereum network. Each time a tulip is sold, thousands of computers around the world all work to verify the transaction, checking each other's work against each other. While the artificial intelligence behind the moving image pieces has the potential to generate infinite flowers, the enormous distributed network is used, at great environmental cost, to introduce scarcity to an otherwise limitless resource. Bloemenveiling was exhibited in Entangled Realities, HEK Basel, Basel, Switzerland in 2019. == Solo exhibitions == Anna Ridler, Circadian Bloom, ZKM Center for Art and Media, Karlsruhe, (2023) Anna Ridler, Time Blooms, Buk Seoul Museum of Art, Seoul, (2025) Anna Ridler, Trace Remains, Galerie Nagel Draxler, Cologne, (2026) Anna Ridler, Laws of Ordered Form, The Photographers' Gallery, London (2020); The Abstraction of Nature, Aksioma, Ljubljana (2020) == Awards and recognition == European Union EMAP Fellow (2018) DARE Art Prize (2018–2019) Featured in Thames & Hudson, Digital Art (1960s–Now) Featured in British Art: The Last 15 Years ABS Digital Artist of the Year (2025)

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  • Cube 3D

    Cube 3D

    Cube 3D is an artificial intelligence model that is developed by Roblox Corporation. It is open source and available on GitHub and Hugging Face. In March 2026, Roblox announced Cube 3D as a mesh generation model that takes text input. In February 2026, Roblox released 4D creation in a public beta, allowing embedding Cube 3D into Roblox games. Cube 3D is integrated into Roblox Studio and its API, and supports two modes of 4D creation. == History == In March 2025, Roblox announced Cube 3D as a mesh generation model that takes text input. Its first feature was an API that allows mesh generation. That month, it was made open source. Over 1.8 million assets have been generated by Cube 3D since March 2025. In March 2025, 4D creation was announced. That November, 4D creation was released in early access. In February 2026, Roblox released 4D creation in a public beta, allowing embedding Cube 3D into Roblox games. == Technology == Cube 3D is trained on Roblox meshes. To generate meshes, it tokenises meshes and shapes and predicts the next token. Cube 3D is integrated into Roblox Studio and the Roblox Studio API. Its API allows mesh generation. In 4D creation, two modes can be used. Car-5 supports modular objects, and Body-1 only supports single-mesh objects.

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  • Multi-exposure HDR capture

    Multi-exposure HDR capture

    In photography and videography, multi-exposure HDR capture is a technique that creates high dynamic range (HDR) images (or extended dynamic range images) by taking and combining multiple exposures of the same subject matter at different exposures. Combining multiple images in this way results in an image with a greater dynamic range than what would be possible by taking one single image. The technique can also be used to capture video by taking and combining multiple exposures for each frame of the video. The term "HDR" is used frequently to refer to the process of creating HDR images from multiple exposures. Many smartphones have an automated HDR feature that relies on computational imaging techniques to capture and combine multiple exposures. A single image captured by a camera provides a finite range of luminosity inherent to the medium, whether it is a digital sensor or film. Outside this range, tonal information is lost and no features are visible; tones that exceed the range are "burned out" and appear pure white in the brighter areas, while tones that fall below the range are "crushed" and appear pure black in the darker areas. The ratio between the maximum and the minimum tonal values that can be captured in a single image is known as the dynamic range. In photography, dynamic range is measured in exposure value (EV) differences, also known as stops. The human eye's response to light is non-linear: halving the light level does not halve the perceived brightness of a space, it makes it look only slightly dimmer. For most illumination levels, the response is approximately logarithmic. Human eyes adapt fairly rapidly to changes in light levels. HDR can thus produce images that look more like what a human sees when looking at the subject. This technique can be applied to produce images that preserve local contrast for a natural rendering, or exaggerate local contrast for artistic effect. HDR is useful for recording many real-world scenes containing a wider range of brightness than can be captured directly, typically both bright, direct sunlight and deep shadows. Due to the limitations of printing and display contrast, the extended dynamic range of HDR images must be compressed to the range that can be displayed. The method of rendering a high dynamic range image to a standard monitor or printing device is called tone mapping; it reduces the overall contrast of an HDR image to permit display on devices or prints with lower dynamic range. == Benefits == One aim of HDR is to present a similar range of luminance to that experienced through the human visual system. The human eye, through non-linear response, adaptation of the iris, and other methods, adjusts constantly to a broad range of luminance present in the environment. The brain continuously interprets this information so that a viewer can see in a wide range of light conditions. Most cameras are limited to a much narrower range of exposure values within a single image, due to the dynamic range of the capturing medium. With a limited dynamic range, tonal differences can be captured only within a certain range of brightness. Outside of this range, no details can be distinguished: when the tone being captured exceeds the range in bright areas, these tones appear as pure white, and when the tone being captured does not meet the minimum threshold, these tones appear as pure black. Images captured with non-HDR cameras that have a limited exposure range (low dynamic range, LDR), may lose detail in highlights or shadows. Modern CMOS image sensors have improved dynamic range and can often capture a wider range of tones in a single exposure reducing the need to perform multi-exposure HDR. Color film negatives and slides consist of multiple film layers that respond to light differently. Original film (especially negatives versus transparencies or slides) feature a very high dynamic range (in the order of 8 for negatives and 4 to 4.5 for positive transparencies). Multi-exposure HDR is used in photography and also in extreme dynamic range applications such as welding or automotive work. In security cameras the term "wide dynamic range" is used instead of HDR. === Limitations === A fast-moving subject, or camera movement between the multiple exposures, will generate a "ghost" effect or a staggered-blur strobe effect due to the merged images not being identical. Unless the subject is static and the camera mounted on a tripod there may be a tradeoff between extended dynamic range and sharpness. Sudden changes in the lighting conditions (strobed LED light) can also interfere with the desired results, by producing one or more HDR layers that do have the luminosity expected by an automated HDR system, though one might still be able to produce a reasonable HDR image manually in software by rearranging the image layers to merge in order of their actual luminosity. Because of the nonlinearity of some sensors image artifacts can be common. Camera characteristics such as gamma curves, sensor resolution, noise, photometric calibration and color calibration affect resulting high-dynamic-range images. == Process == High-dynamic-range photographs are generally composites of multiple standard dynamic range images, often captured using exposure bracketing. Afterwards, photo manipulation software merges the input files into a single HDR image, which is then also tone mapped in accordance with the limitations of the planned output or display. === Capturing multiple images (exposure bracketing) === Any camera that allows manual exposure control can perform multi-exposure HDR image capture, although one equipped with automatic exposure bracketing (AEB) facilitates the process. Some cameras have an AEB feature that spans a far greater dynamic range than others, from ±0.6 in simpler cameras to ±18 EV in top professional cameras, as of 2020. The exposure value (EV) refers to the amount of light applied to the light-sensitive detector, whether film or digital sensor such as a CCD. An increase or decrease of one stop is defined as a doubling or halving of the amount of light captured. Revealing detail in the darkest of shadows requires an increased EV, while preserving detail in very bright situations requires very low EVs. EV is controlled using one of two photographic controls: varying either the size of the aperture or the exposure time. A set of images with multiple EVs intended for HDR processing should be captured only by altering the exposure time; altering the aperture size also would affect the depth of field and so the resultant multiple images would be quite different, preventing their final combination into a single HDR image. Multi-exposure HDR photography generally is limited to still scenes because any movement between successive images will impede or prevent success in combining them afterward. Also, because the photographer must capture three or more images to obtain the desired luminance range, taking such a full set of images takes extra time. Photographers have developed calculation methods and techniques to partially overcome these problems, but the use of a sturdy tripod is advised to minimize framing differences between exposures. === Merging the images into an HDR image === Tonal information and details from shadow areas can be recovered from images that are deliberately overexposed (i.e., with positive EV compared to the correct scene exposure), while similar tonal information from highlight areas can be recovered from images that are deliberately underexposed (negative EV). The process of selecting and extracting shadow and highlight information from these over/underexposed images and then combining them with image(s) that are exposed correctly for the overall scene is known as exposure fusion. Exposure fusion can be performed manually, relying on the HDR operator's judgment, experience, and training, but usually, fusion is performed automatically by software. === Storing === Information stored in high-dynamic-range images typically corresponds to the physical values of luminance or radiance that can be observed in the real world. This is different from traditional digital images, which represent colors as they should appear on a monitor or a paper print. Therefore, HDR image formats are often called scene-referred, in contrast to traditional digital images, which are device-referred or output-referred. Furthermore, traditional images are usually encoded for the human visual system (maximizing the visual information stored in the fixed number of bits), which is usually called gamma encoding or gamma correction. The values stored for HDR images are often gamma compressed using mathematical functions such as power laws logarithms, or floating point linear values, since fixed-point linear encodings are increasingly inefficient over higher dynamic ranges. HDR images often do not use fixed ranges per color channel, other than traditional images, to represent many more colors over a much wi

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  • Computer-assisted legal research

    Computer-assisted legal research

    Computer-assisted legal research (CALR) or computer-based legal research is a mode of legal research that uses databases of court opinions, statutes, court documents, and secondary material. Electronic databases make large bodies of case law easily available. Databases also have additional benefits, such as Boolean searches, evaluating case authority, organizing cases by topic, and providing links to cited material. Databases are available through paid subscription or for free. Subscription-based services include Westlaw, LexisNexis, JustCite, HeinOnline, Bloomberg Law, Lex Intell, VLex and LexEur. As of 2015, the commercial market grossed $8 billion. Free services include OpenJurist, Google Scholar, AltLaw, Ravel Law, WIPO Lex, Law Delta and the databases of the Free Access to Law Movement. == Purposes == Computer-assisted legal research is undertaken by a variety of actors. It is taught as a topic in many law degrees and is used extensively by undergraduate and postgraduate law students in meeting the work requirements of their degree courses. Professors of Law rely on the digitization of primary and secondary sources of law when conducting their research and writing the material that they submit for publication. Professional lawyers rely on computer-assisted legal research in order to properly understand the status of the law and so to act effectively in the best interest of their client. They may also consult the text of case judgements and statutes specifically, as well as wider academic comment, in order to form the basis of (or response to) an appeal. The availability of legal information online differs by type, jurisdiction and subject matter. The types of information available include: Texts of statutes, statutory instruments, civil codes, etc. Explanatory notes and government publications relating to statutes and their operation Texts of governing documents such as constitutions and treaties Case judgements Journals on legal matters or legal theory Dictionaries and legal encyclopedia Legal texts and materials in the form of e-books Current affairs and market information Educational information on the law and its operation == Before the Internet == Prior to the advent and popularization of the World Wide Web, access to digital legal information was largely through the use of CD-ROMs, designed and sold by commercial organizations. Dial-up services were also available from the 1970s. As the use of the Internet spread in the early 1990s, companies such as LexisNexis and Westlaw incorporated Internet connectivity into their software packages. Browser-based legal information started to be published by Legal Information Institutes from 1992. == Publicly available information == The first effort to provide free computer access to legal information was made by two academics, Peter Martin and Tom Bruce, in 1992. Today, the Legal Information Institute freely publishes such resources as the text of the United States Constitution, judgements of the United States Supreme Court, and the text of the United States Code. The Australasian Legal Information Institute (AusLII) was established soon after in 1995. Other legal information institutes, such as those of Great Britain and Ireland (BAILII), Canada (CII) and South Africa (SAfLI) soon followed. LIIs were partially formalized in 2002 following the signing of the Declaration of Free Access to the Law, which has been signed by 54 countries. At the time of writing, the World Legal Information Institute contains in excess of 1800 databases from 123 jurisdictions. Many governments also publish legal information online. For example, UK legislation and statutory instruments have been publicly available online since 2010. Depending on the jurisdiction in question, the decisions of higher appellate courts may also be published online, either by the Legal Information Institute or by the court service directly. Sources of European Union Law are published for free by EUR-Lex in 23 languages, including judgments of the European Courts. Similarly, judgements of the European Court of Human Rights are published on its website.

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  • Darwin among the Machines

    Darwin among the Machines

    "Darwin among the Machines" is a letter to the editor published in The Press newspaper on 13 June 1863 in Christchurch, New Zealand. The title, which was chosen by the author, references the work of Charles Darwin. Written by Samuel Butler but signed Cellarius, the letter raised the possibility that machines were a kind of "mechanical life" undergoing constant evolution, and that eventually machines might supplant humans as the dominant species. == Book of the Machines == Butler developed this and subsequent articles into The Book of the Machines, three chapters of Erewhon, published anonymously in 1872. The Erewhonian society Butler envisioned had long ago undergone a revolution that destroyed most mechanical inventions. The narrator of the story finds a book that details the reasons for this revolution, which he translates for the reader. Despite the initial popularity of Erewhon, Butler commented in the preface to the second edition that reviewers had "in some cases been inclined to treat the chapters on Machines as an attempt to reduce Mr. Darwin's theory to an absurdity." He protested that "few things would be more distasteful to me than any attempt to laugh at Mr. Darwin", but also added "I am surprised, however, that the book at which such an example of the specious misuse of analogy would seem most naturally levelled should have occurred to no reviewer; neither shall I mention the name of the book here, though I should fancy that the hint given will suffice", which may suggest that the chapter on Machines was in fact a satire intended to illustrate the "specious misuse of analogy", even if the target was not Darwin; Butler, fearing that he had offended Darwin, wrote him a letter explaining that the actual target was Joseph Butler's 1736 The Analogy of Religion, Natural and Revealed, to the Constitution and Course of Nature. The Victorian scholar Herbert Sussman has suggested that although Butler's exploration of machine evolution was intended to be whimsical, he may also have been genuinely interested in the notion that living organisms are a type of mechanism and was exploring this notion with his writings on machines, while the philosopher Louis Flaccus called it "a mixture of fun, satire, and thoughtful speculation." == Evolution of Global Intelligence == George Dyson applies Butler's original premise to the artificial life and intelligence of Alan Turing in Darwin Among the Machines: The Evolution of Global Intelligence (1998) ISBN 0-7382-0030-1, to suggest that the internet is a living, sentient being. Dyson's main claim is that the evolution of a conscious mind from today's technology is inevitable. It is not clear whether this will be a single mind or multiple minds, how smart that mind would be, and even if we will be able to communicate with it. He also clearly suggests that there are forms of intelligence on Earth that we are currently unable to understand. From the book: "What mind, if any, will become apprehensive of the great coiling of ideas now under way is not a meaningless question, but it is still too early in the game to expect an answer that is meaningful to us."

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  • Plants vs. Zombies: Replanted

    Plants vs. Zombies: Replanted

    Plants vs. Zombies: Replanted is a 2025 tower defense video game developed by PopCap Seattle, The Lost Pixels, and published by Electronic Arts. It is a remaster of the 2009 game Plants vs. Zombies, introducing upscaled graphics and new additional content. Plants vs. Zombies: Replanted was released for video game consoles and personal computers on October 23, 2025. It received generally positive reviews from critics, but was criticized by the original game's development team for including fabricated concept art and for mishandling the soundtrack. == Gameplay == Plants vs. Zombies: Replanted follows the same gameplay of the original Plants vs. Zombies game with very minor changes. It is a lane-based tower defense game where the player has to defend their home from incoming zombies. The player can place various plants by spending "sun", the game's currency during levels. Sun icons can be collected from the sky during daytime and from sun-producing plants such as sunflowers. Some plants can attack zombies while some can act as defense. If all zombies are defeated in a level, the player wins. If a zombie reaches the left side of the line, a lawn mower—or other similar, relevant object—will activate and clear the row of any zombies, but if the lawn mower has already been used, and another zombie crosses, the game is over. === Replanted features === Plants vs. Zombies: Replanted contains up to 4K upscaled graphics and widescreen support, in comparison to the original game's static 800x600 resolution and 4:3 aspect ratio. Replanted now has full controller support and features local multiplayer modes ported from the original game's seventh generation console ports: co-op, where two players play together with assigned roles; and Versus, where one plays as the plants and the other as the zombies. No online multiplayer is planned, however support for Steam Remote Play was later added in a patch as an alternative for Windows users. Replanted also contains quality-of-life features. Gameplay can now be sped up by the player's will, with a max speed increase of 2.5x. Sun icons can now be mass collected using the "Sun Magnet." On Windows, players can quick-select plants from their seed bank using the number keys as hotkeys. Replanted also introduces two new additional game modes. "Cloudy Day" is a set of non-linear levels in the Adventure campaign. These levels only allow Sunflowers as sun-producing plants. During these levels, the amount of sun dropped from the sky and produced by plants are lowered. At certain times, rain clouds will move over the lawn. While these clouds are present, sun will stop appearing from the sky and from Sunflowers. However, all plants will cost around half their original price and have significantly faster recharge times. "R.I.P. Mode" is a harder difficulty of the Adventure campaign, but the player is forced back to the beginning if they lose a single level. Replanted additionally features "bonus levels" included as non-linear levels in the Adventure campaign. These include 10 new minigames that were previously unused in the original game. In a later update, Replanted added "Survival: Endless" levels to all five areas of the game instead of just the daytime pool. == Development == The existence of a Plants vs. Zombies remaster was revealed in an interview with Janet Robin from The String Revolution, who they did a vinyl collaboration with the franchise in 2025 with Iam8bit. Janet stated that EA commissioned them to record an acoustic composition of the track "Crazy Dave" to be used for an "anniversary edition" of the game. The song would be additionally be a tribute to the song "Bad Guy", which artist Billie Eilish has stated to be somewhat similar to the track. Plants vs. Zombies Replanted was officially announced in a Nintendo Direct presentation in late July 2025. As an incentive, people who pre-ordered the game are given an in-game retro-styled skin of the Peashooter. Replanted was showcased at PAX West on August 25, 2025. A dev diary for Plants vs. Zombies: Replanted was uploaded to YouTube on October 17, 2025. The video features Nick Reinhart, Jake Neri, and Matt Townsend. A developer panel for the game was available during TwitchCon 2025. == Release == Plants vs. Zombies: Replanted was released for Nintendo Switch, Nintendo Switch 2, PlayStation 4, PlayStation 5, Xbox One, Xbox Series X and Series S, and personal computers on October 23, 2025. It was leaked onto the internet on October 17, 2025. Players discovered multiple software bugs, and multiple assets alleged to be upscaled by generative artificial intelligence were found, leading to backlash. Numerous bugs were fixed in a day-one patch on October 23, 2025. == Reception == === Critical response === The versions of Plants vs. Zombies: Replanted for Windows, PlayStation 5, and Nintendo Switch 2 received "generally favorable" reviews from critics, according to review aggregator website Metacritic, while the Xbox Series X version received "mixed or average" reviews. According to OpenCritic, 57% of critics recommended it. IGN's Alessandro Fillari called it "a good way to get re-acquainted with one of the quirkiest puzzle-strategy games of the 2000s", while acknowledging its questionable decisions. Shacknews' David Craddock said it was his favorite version of Plants vs. Zombies, stating, "it packs everything fans loved about the original game, plus lots more" while justifying its US$20 price. The Verge described Replanted as "a time capsule from a simpler, happier time". Kyle Hilliard from Game Informer praised its faithfulness, complimenting the new animations and character designs that did not alter its memorability. Noah Hunter for Final Weapon described the remake as solid, though criticized the lack of certain features and containing bugs that gate it from being excellent. Ben Lyons from Gamereactor stated Replanted is the same as the original overall, despite believing the £18 price is not justified. === Original developers === Rich Werner, the original game's character designer, claims that some concept art contained in the game, speculated to be for Plants vs. Zombies: Garden Warfare (2014), did not originate from the original's development. Werner also stated that concept art for the Disco Zombie is fabricated; the design for the Disco Zombie was created after the estate of Michael Jackson requested the original Dancing Zombie, who resembles Michael Jackson from his Thriller music video, be removed from the game. On October 19, 2026, composer Laura Shigihara expressed her dissatisfaction with the lack of dynamic music in the game. Dynamic music would later be implemented in a later patch. In an interview featuring Rich Werner and user interface designer Matt Holmberg on April 29, 2026, Werner revealed that he and Shigihara were contacted by EA to make a music video to market Replanted. However, after the game was leaked, Werner's response on social media led EA to cancel the collaboration.

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  • Brave Leo

    Brave Leo

    Brave Leo is a large language model-based chatbot developed by Brave Software and included with the Brave browser. == History == In November 2023, the company said versions for iOS and Android would be available "in the coming months". == Features == Since January 2024, Leo has used the open-source Mixtral 8x7B from Mistral AI as its default large language model, in addition to LLaMA 2 from Meta Platforms and Claude from Anthropic, both of which have been used previously. Leo can suggest follow-up questions, and summarize webpages, PDFs, and videos. Leo has a $15 (US) per month premium version that enables more requests and uses larger LLMs. == Privacy == The answers given by Leo are not saved. Brave uses the slogan Love Privacy to emphasize its focus on user privacy and data protection. The phrase has been featured in Brave's official marketing campaigns and has been cited in media coverage of the browser's privacy-first approach. == Controversies == In 2023, PC World reported that Leo evades questions about US elections.

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  • Conference on Artificial General Intelligence

    Conference on Artificial General Intelligence

    The Conference on Artificial General Intelligence (AGI) is a meeting of researchers in the field of artificial general intelligence (AGI) organized by the AGI Society steered by Marcus Hutter and Ben Goertzel. It has been held annually since 2008. The conference was initiated by the 2006 Bethesda Artificial General Intelligence Workshop and has since been hosted at various international venues. == Locations and history == AGI-2026 San Francisco State University, California, USA AGI-2025 Reykjavík University, Reykjavík, Iceland AGI-2024 University of Washington, Seattle, Washington, USA AGI-2023 KTH Royal Institute of Technology, Stockholm, Sweden AGI-2022 The Crocodile, Seattle, Washington, USA AGI-2021 Computer History Museum, Mountain View, California, USA AGI-2020 Virtual Conference AGI-2019 Sheraton Shenzhen Futian, Shenzhen, China AGI-2018 Czech Technical University, Prague, Czech Republic AGI-2017 ibis Melbourne, Melbourne, Australia AGI-2016 The New School, New York, New York, USA AGI-2015 Berlin-Brandenburg Academy of Sciences and Humanities, Berlin, Germany AGI-2014 Université Laval, Quebec City, Canada (sponsored by the Cognitive Science Society and the AAAI) AGI-2013 Peking University, Beijing, China (sponsored by the Cognitive Science Society and the AAAI) AGI-2012 University of Oxford, Oxford, United Kingdom (sponsored by the Future of Humanity Institute and Ray Kurzweil) AGI-2011 Google Headquarters, Mountain View, California, USA (sponsored by Google, AAAI, and Ray Kurzweil) AGI-2010 University of Lugano, Lugano, Switzerland (In Memoriam Ray Solomonoff and sponsored by AAAI and Ray Kurzweil) AGI-2009 Crowne Plaza Crystal City, Arlington, Virginia, USA (sponsored by AAAI and Ray Kurzweil) AGI-2008 University of Memphis, Tennessee, USA (sponsored by AAAI) == Notable speakers == The conference has attracted many speakers over the years including Turing Award winners Yoshua Bengio and Richard S. Sutton as well as Ben Goertzel, Marcus Hutter, Jürgen Schmidhuber, Gary Marcus, John E. Laird, Peter Norvig, Joscha Bach, François Chollet, John L. Pollock, Bill Hibbard, Hugo de Garis, Stan Franklin, Steve Omohundro, Randal A. Koene, Ernst Dickmanns, Margaret Boden, David Hanson, Roman Yampolskly, Selmer Bringsjord, Kristinn R. Thórisson and Nick Bostrom.

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  • AI-generated content in American politics

    AI-generated content in American politics

    In American politics since the 2020s, political figures have deployed AI-generated images, videos, and audio to attack opponents, create misleading narratives, or inflame emotions. The use of generative AI by American political figures has been subject to criticism from many sides of the political spectrum. Republican president Donald Trump has notably used generative AI in several posts to Truth Social during his second term, many of which have made headlines due to their inflammatory nature. == Background == Generative artificial intelligence is a subfield of artificial intelligence that uses generative models to generate text, images, videos, audio, software code or other forms of data. In the mid 2020s with the release of 15.ai, ChatGPT, DALL-E and other generative artificial intelligence applications there was an AI boom. There has been an increase of usage of generative-AI within the United States political field during this boon, with both Republican and Democratic party members using it. The Trump administration during his second term, have embraced the use of AI-generated images, causing some misinformation experts to raise concerns about the continued usage would cause the erosion of public perception of the truth. In response to some criticisms White House deputy communications director Kaelan Dorr posted on X that the "memes will continue" with White House deputy press secretary Abigail Jackson also mocking concerns. == History of usage == === 2023 === In April 2023, the Republican National Committee released an attack ad made entirely with AI-generated images depicting a dystopian future under Joe Biden's re-election. === 2024 === Generative AI has increased the efficiency with which political candidates were able to raise money by analyzing donor data and identifying possible donors and target audiences. In March 2024 Democratic consultant working for Dean Phillips has admitted to using AI to generate a robocall which used Joe Biden's voice to discourage voter participation. In August 2024, The Atlantic noted that AI slop was becoming associated with the political right in the United States, who were using it for shitposting and engagement farming on social media, with the technology offering "cheap, fast, on-demand fodder for content". AI slop is frequently used in political campaigns in an attempt at gaining attention through content farming. === 2025 === The initial version of the Make Our Children Healthy Again Assessment of children's health issues, released by a commission of cabinet members and officials of the Trump administration, and led by US Department of Health and Human Services Secretary Robert F. Kennedy Jr., reportedly cited nonexistent and garbled references generated using artificial intelligence. Democratic governor Gavin Newsom has used AI-generated images to criticize Trump. In the midst of disruptions to food stamp distribution during the 2025 US government shutdown, anonymous social media users began using OpenAI's Sora to post slop videos of welfare queens complaining, stealing, and rioting in supermarkets; many comments to the videos appeared unaware that they were AI-generated, or acknowledged that they were AI-generated but nonetheless useful in pushing a narrative of widespread welfare fraud. On September 6, 2025, Trump posted an image on Truth Social making a reference to "Chipocalypse Now". Trump's post consisted of an AI-generated image showing Trump frowning and wearing a U.S. Cavalry hat and sunglasses, in front of Lake Michigan with the city of Chicago behind him with a smoke and fire spread across the background with five U.S. Army helicopters in the sky. The words "Chipocalypse Now" are rendered in a font resembling that in which the title of the 1979 film Apocalypse Now was styled. === 2026 === On February 5, 2026, Donald Trump shared a video of Barack and Michelle Obama depicted as apes in a Truth Social post. The two-second AI-generated clip of the Obamas portrayed as apes set to "The Lion Sleeps Tonight" appeared at the end of a one-minute two second long video, the rest of which was about false claims of voter fraud during the 2020 presidential election. The post received at least 4,650 likes, 409 comments, and 1,470 reTruths before it was deleted the next morning. The short clip was part of a longer AI-generated video posted in October 2025. The post received widespread backlash and bipartisan condemnation of the video as racist. In April 2026, Trump posted a picture of himself depicted as Jesus, drawing widespread criticism from Evangelicals and Catholics, resulting in Trump deleting the post hours later and claiming he believed he was depicted as a doctor. == Examples of use == === Election campaigns === In 2023, while he was still running for re-election, the presidential campaign of Joe Biden prepared a task force to respond to AI images and videos. The campaign for the 2024 Republican nominee, Donald Trump, has used deepfake videos of political opponents in campaign ads and fake images showing Trump with black supporters. During the first five months of his second term in 2025, Trump posted several AI-generated images of himself on official government social media accounts, including him as the Pope, him as a Jedi, and him as a muscular man. In August 2024, Trump posted a series of AI-generated images on his social media platform, Truth Social, that portrayed fans of the singer Taylor Swift in "Swifties for Trump" T-shirts, as well as a photo of the singer herself appearing to endorse Trump's 2024 presidential campaign. The images originated from the conservative Twitter account @amuse, which posted numerous AI slop images leading up to the 2024 United States elections that were shared by other high-profile figures within the US Republican Party, such as Elon Musk, who has publicly endorsed the utilization of generative AI, furthering this association. In 2024, Michigan GOP candidate Anthony Hudson posted an AI-generated video showing Martin Luther King Jr. endorsing his campaign, later claiming it was uploaded by a volunteer. In his 2025 bid to be the Democratic nominee for governor of New Jersey, Rep. Josh Gottheimer drew attention and criticism when he released a TV ad that used AI to portray him as a shirtless boxer sparring with Donald Trump in a boxing ring. In November 2025, the campaign of Mike Collins, a GOP candidate in the 2026 United States Senate election in Georgia released a fake video, generated by artificial intelligence, that depicted Democrat Jon Ossoff defending his vote on the 2025 United States federal government shutdown by declaring he could never say no to Chuck Schumer and that SNAP recipients did not attend his out-of-state fundraisers. The Collins campaign also shared an AI-generated video featuring Collins as a shirtless blue jeans model, referencing an American Eagle Outfitters advertisement featuring Sydney Sweeney. During the 2026 Los Angeles mayoral election, candidate Spencer Pratt reposted an AI-generated video portraying Pratt as Batman and prominent California politicians such as Karen Bass, Gavin Newsom, and Kamala Harris, as unruly aristocrats. Former governor of Florida Jeb Bush described the ad as “maybe the best political ad of the year.” In response, a spokesperson for Bass's campaign said, he was "doing his best Trump impression." Bass further responded that the AI ads are "taking on a violent trend." === Protests === In response to the nation-wide No Kings protests in October 2025, Donald Trump posted a video depicting himself flying a fighter jet and releasing feces on crowds of demonstrators, including Democratic influencer Harry Sisson. === Foreign interference === Officials from the ODNI and FBI have stated that Russia, Iran, and China used generative artificial intelligence tools to create fake and divisive text, photos, video, and audio content to foster anti-Americanism and engage in covert influence campaigns. The use of artificial intelligence was described as an accelerant rather than a revolutionary change to influence efforts. Regulation of AI with regard to elections was unlikely to see a resolution for most of the 2024 United States general election season. === Disasters and wars === In the aftermath of Hurricane Helene in the United States, members of the Republican Party circulated an AI-generated image of a young girl holding a puppy in a flood, and used it as evidence of the failure of President Joe Biden to respond to the disaster. Some, like Trump supporter Amy Kremer, shared the image on social media but acknowledged that it was not genuine. In February 2025, Donald Trump shared an AI-generated video on Truth Social depicting a hypothetical Gaza after a Trump takeover. The video's creator claimed it was made as political satire. == Reception == Ramesh Srinivasan, a professor at UCLA raised concerns about the use of AI-generative images stating that many people are questioning where they can find trustab

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