AI Chatbot Zendesk

AI Chatbot Zendesk — independent reviews, comparisons, pricing and step-by-step guides on Aizhi.

Adobe InDesign

Adobe InDesign is a desktop publishing and page layout designing software application produced by Adobe and first released in 1999. It can be used to create works such as posters, flyers, brochures, magazines, newspapers, presentations, books and ebooks. InDesign can also publish content suitable for tablet devices in conjunction with Adobe Digital Publishing Suite. Graphic designers and production artists are the principal users. InDesign is the successor to PageMaker, which Adobe acquired by buying Aldus Corporation in late 1994. (Freehand, Aldus's competitor to Adobe Illustrator, was licensed from Altsys, the maker of Fontographer.) By 1998, PageMaker had lost much of the professional market to the comparatively feature-rich QuarkXPress version 3.3, released in 1992, and version 4.0, released in 1996. In 1999, Quark announced its offer to buy Adobe and to divest the combined company of PageMaker to avoid problems under United States antitrust law. Adobe declined Quark's offer and continued to develop a new desktop publishing application. Aldus had begun developing a successor to PageMaker, code-named "Shuksan". Later, Adobe code-named the project "K2", and Adobe released InDesign 1.0 in 1999. InDesign exports documents in Adobe's Portable Document Format (PDF) and supports multiple languages. It was the first DTP application to support Unicode character sets, advanced typography with OpenType fonts, advanced transparency features, layout styles, optical margin alignment, and cross-platform scripting with JavaScript. Later versions of the software introduced new file formats. To support the new features, especially typography, introduced with InDesign CS, the program and its document format are not backward-compatible. Instead, InDesign CS2 introduced the INX (.inx) format, an XML-based document representation, to allow backward compatibility with future versions. InDesign CS versions updated with the 3.1 April 2005 update can read InDesign CS2-saved files exported to the .inx format. The InDesign Interchange format does not support versions earlier than InDesign CS. With InDesign CS4, Adobe replaced INX with InDesign Markup Language (IDML), another XML-based document representation. InDesign was the first native Mac OS X publishing software. With the third major version, InDesign CS, Adobe increased InDesign's distribution by bundling it with Adobe Photoshop, Adobe Illustrator, and Adobe Acrobat in Adobe Creative Suite. Adobe developed InDesign CS3 (and Creative Suite 3) as universal binary software compatible with native Intel and PowerPC Macs in 2007, two years after the announced 2005 schedule, inconveniencing early adopters of Intel-based Macs. Adobe CEO Bruce Chizen said, "Adobe will be first with a complete line of universal applications." == File format == The MIME type is not official File Open formats: indd, indl, indt, indb, inx, idml, pmd, xqx New File formats: indd, indl, indb File Save As formats: indd, indt Save file format for InCopy: icma (Assignment file) icml (Content file, Exported file) icap (Package for InCopy) idap (Package for InDesign) File Export formats: pdf, idml, icml, eps, jpg, txt, XML, rtf == Versions == Newer versions can, as a rule, open files created by older versions, but the reverse is not true. Current versions can export the InDesign file as an IDML file (InDesign Markup Language), which can be opened by InDesign versions from CS4 upwards; older versions from CS4 down can export to an INX file (InDesign Interchange format). === Server version === In October 2005, Adobe released InDesign Server CS2, a modified version of InDesign (without a user interface) for Windows and Macintosh server platforms. It does not provide any editing client; rather, it is for use by developers in creating client-server solutions with the InDesign plug-in technology. In March 2007 Adobe officially announced Adobe InDesign CS3 Server as part of the Adobe InDesign family. == Features == Paragraph styles are an essential tool for designers when working with text in Adobe InDesign. Despite their menacing appearance, they are straightforward to operate. Other features that make InDesign a good tool for working with text and paragraphs include: Creating frames and shapes Aligning objects with grids and guides Manipulating objects Organizing objects Importing text Formatting text Spell checking Importing images Parent pages (formerly master pages) Paragraph styles == Internationalization and localization == InDesign Middle Eastern editions have unique settings for laying out Arabic or Hebrew text. They feature: Text settings: Special settings for laying out Arabic or Hebrew text, such as: Ability to use Arabic, Persian or Hindi digits; Use kashidas for letter spacing and full justification; Ligature option; Adjust the position of diacritics, such as vowels of the Arabic script; Justify text in three possible ways: Standard, Arabic, Naskh; Option to insert special characters, including Geresh, Gershayim, Maqaf for Hebrew and Kashida for Arabic texts; Apply standard, Arabic, or Hebrew styles for page, paragraph, and footnote numbering. Bi-directional text flow: Right-to-left behavior applies to several objects: Story, paragraph, character, and table. It allows mixing right-to-left and left-to-right words, paragraphs, and stories in a document. Changing the direction of neutral characters (e.g., / or ?) is possible according to the user's keyboard language. Table of contents: Provides a table of contents titles, one for each supported language. This table is sorted according to the chosen language. InDesign CS4 Middle Eastern versions allow users to select the language of the index title and cross-references. Indices: This allows the creation of a simple keyword index or a somewhat more detailed index of the information in the text using embedded indexing codes. Unlike more sophisticated programs, InDesign cannot insert character style information as part of an index entry (e.g., when indexing book, journal, or movie titles). Indices are limited to four levels (the top level and three sub-levels). Like tables of contents, indices can be sorted according to the selected language. Importing and exporting: Can import QuarkXPress files up to version 4.1 (1999), even using Arabic XT, Arabic Phonyx, or Hebrew XPressWay fonts, retaining the layout and content. Includes 50 import/export filters, including a Microsoft Word 97-98-2000 import filter and a plain text import filter. Exports IDML files can be read by QuarkXPress 2017. Reverse layout: Include a reverse layout feature to reverse the layout of a document when converting a left-to-right document to a right-to-left one or vice versa. Complex script rendering: InDesign supports Unicode character encoding, and Middle Eastern editions support complex text layouts for Arabic and Hebrew complex scripts. The underlying Arabic and Hebrew support is present in the Western editions of InDesign CS4, CS5, CS5.5, and CS6, but the user interface is not exposed, making it difficult to access.
Read more →
Hubert Dreyfus

Hubert Lederer Dreyfus ( DRY-fəs; October 15, 1929 – April 22, 2017) was an American philosopher and a professor of philosophy at the University of California, Berkeley. His main interests included phenomenology, existentialism and the philosophy of both psychology and literature, as well as the philosophical implications of artificial intelligence. He was widely known for his exegesis of Martin Heidegger, which critics labeled "Dreydegger". Dreyfus was featured in Tao Ruspoli's film Being in the World (2010), and was among the philosophers interviewed by Bryan Magee for the BBC Television series The Great Philosophers (1987). The Futurama character Professor Hubert Farnsworth is partly named after him, writer Eric Kaplan having been a former student. == Life and career == Dreyfus was born on 15 October 1929, in Terre Haute, Indiana, to Stanley S. and Irene (Lederer) Dreyfus. He attended Harvard University from 1947. With a senior honors thesis on Causality and Quantum Theory (for which W. V. O. Quine was the main examiner) he was awarded a B.A. summa cum laude in 1951 and joined Phi Beta Kappa. He was awarded a M.A. in 1952. He was a Teaching Fellow at Harvard from 1952 to 1953 (as he was again in 1954 and 1956). Then, on a Harvard Sheldon traveling fellowship, Dreyfus studied at the University of Freiburg from 1953 to 1954. During this time he had an interview with Martin Heidegger. Sean D. Kelly records that Dreyfus found the meeting 'disappointing.' A brief mention of it was made by Dreyfus during his 1987 BBC interview with Bryan Magee in remarks that are revealing of both his and Heidegger's opinion of the work of Jean-Paul Sartre. Between 1956 and 1957, Dreyfus undertook research at the Husserl Archives at the University of Louvain on a Fulbright Fellowship. Towards the end of his stay, his first (jointly authored) paper "Curds and Lions in Don Quijote" would appear in print. After acting as an instructor in philosophy at Brandeis University (1957–1959), he attended the Ecole Normale Supérieure, Paris, on a French government grant (1959–1960). From 1960, first as an instructor, then as an assistant and then associate professor, Dreyfus taught philosophy at the Massachusetts Institute of Technology (MIT). In 1964, with his dissertation Husserl's Phenomenology of Perception, he obtained his Ph.D. from Harvard. (Due to his knowledge of Husserl, Dagfinn Føllesdal sat on the thesis committee but he has asserted that Dreyfus "was not really my student.") That same year, his co-translation (with his first wife) of Sense and Non-Sense by Maurice Merleau-Ponty was published. Also in 1964, and whilst still at MIT, he was employed as a consultant by the RAND Corporation to review the work of Allen Newell and Herbert A. Simon in the field of artificial intelligence (AI). This resulted in the publication, in 1965, of the "famously combative" Alchemy and Artificial Intelligence, which proved to be the first of a series of papers and books attacking the AI field's claims and assumptions. The first edition of What Computers Can't Do would follow in 1972, and this critique of AI (which has been translated into at least ten languages) would establish Dreyfus's public reputation. However, as the editors of his Festschrift noted: "the study and interpretation of 'continental' philosophers... came first in the order of his philosophical interests and influences." === Berkeley === In 1968, although he had been granted tenure, Dreyfus left MIT and became an associate professor of philosophy at the University of California, Berkeley, (winning, that same year, the Harbison Prize for Outstanding Teaching). In 1972 he was promoted to full professor. Though Dreyfus retired from his chair in 1994, he continued as professor of philosophy in the Graduate School (and held, from 1999, a joint appointment in the rhetoric department). He continued to teach philosophy at UC Berkeley until his last class in December 2016. Dreyfus was elected a fellow of the American Academy of Arts and Sciences in 2001. He was also awarded an honorary doctorate for "his brilliant and highly influential work in the field of artificial intelligence" and his interpretation of twentieth century continental philosophy by Erasmus University. Dreyfus died on April 22, 2017. His younger brother and sometimes collaborator, Stuart Dreyfus, is a professor emeritus of industrial engineering and operations research at the University of California, Berkeley. == Dreyfus' criticism of AI == Dreyfus' critique of artificial intelligence (AI) concerns what he considers to be the four primary assumptions of AI research. The first two assumptions are what he calls the "biological" and "psychological" assumptions. The biological assumption is that the brain is analogous to computer hardware and the mind is analogous to computer software. The psychological assumption is that the mind works by performing discrete computations (in the form of algorithmic rules) on discrete representations or symbols. Dreyfus claims that the plausibility of the psychological assumption rests on two others: the epistemological and ontological assumptions. The epistemological assumption is that all activity (either by animate or inanimate objects) can be formalized (mathematically) in the form of predictive rules or laws. The ontological assumption is that reality consists entirely of a set of mutually independent, atomic (indivisible) facts. It's because of the epistemological assumption that workers in the field argue that intelligence is the same as formal rule-following, and it's because of the ontological one that they argue that human knowledge consists entirely of internal representations of reality. On the basis of these two assumptions, workers in the field claim that cognition is the manipulation of internal symbols by internal rules, and that, therefore, human behaviour is, to a large extent, context free (see contextualism). Therefore, a truly scientific psychology is possible, which will detail the 'internal' rules of the human mind, in the same way the laws of physics detail the 'external' laws of the physical world. However, it is this key assumption that Dreyfus denies. In other words, he argues that we cannot now (and never will be able to) understand our own behavior in the same way as we understand objects in, for example, physics or chemistry: that is, by considering ourselves as things whose behaviour can be predicted via 'objective', context free scientific laws. According to Dreyfus, a context-free psychology is a contradiction in terms. Dreyfus's arguments against this position are taken from the phenomenological and hermeneutical tradition (especially the work of Martin Heidegger). Heidegger argued that, contrary to the cognitivist views (on which AI has been based), our being is in fact highly context-bound, which is why the two context-free assumptions are false. Dreyfus doesn't deny that we can choose to see human (or any) activity as being 'law-governed', in the same way that we can choose to see reality as consisting of indivisible atomic facts... if we wish. But it is a huge leap from that to state that because we want to or can see things in this way that it is therefore an objective fact that they are the case. In fact, Dreyfus argues that they are not (necessarily) the case, and that, therefore, any research program that assumes they are will quickly run into profound theoretical and practical problems. Therefore, the current efforts of workers in the field are doomed to failure. Dreyfus argues that to get a device or devices with human-like intelligence would require them to have a human-like being-in-the-world and to have bodies more or less like ours, and social acculturation (i.e. a society) more or less like ours. (This view is shared by psychologists in the embodied psychology (Lakoff and Johnson 1999) and distributed cognition traditions. His opinions are similar to those of robotics researchers such as Rodney Brooks as well as researchers in the field of artificial life.) Contrary to a popular misconception, Dreyfus never predicted that computers would never beat humans at chess. In Alchemy and Artificial Intelligence, he only reported (correctly) the state of the art of the time: "Still no chess program can play even amateur chess." Daniel Crevier writes: "time has proven the accuracy and perceptiveness of some of Dreyfus's comments. Had he formulated them less aggressively, constructive actions they suggested might have been taken much earlier." == Webcasting philosophy == When UC Berkeley and Apple began making a selected number of lecture classes freely available to the public as podcasts beginning around 2006, a recording of Dreyfus teaching a course called "Man, God, and Society in Western Literature – From Gods to God and Back" rose to the 58th most popular webcast on iTunes. These webcasts have attracted the attention of many, including non-academics, to Dreyfus and his
Read more →
ELVIS Act

The ELVIS Act or Ensuring Likeness Voice and Image Security Act, signed into law by Tennessee Governor Bill Lee on March 21, 2024, marked a significant milestone in the area of regulation of artificial intelligence and public sector policies for artists in the era of artificial intelligence (AI) and AI alignment. It was noted as the first enacted legislation in the United States specifically designed to protect musicians from the unauthorized use of their voices through artificial intelligence technologies and against audio deepfakes and voice cloning. This legislation distinguishes itself by adding penalties for copying a performer's voice. == Origin and advocacy == The inception of the ELVIS Act has been attributed to Gebre Waddell, founder of Sound Credit, who initially conceptualized a framework in 2023 that later evolved into the legislation. Representative Justin J. Pearson acknowledged Waddell's pivotal role during the March 4 House Floor Session on the bill. Leading Tennessee musicians supported the ELVIS Act. Tennessee Governor Bill Lee endorsed it as a Governor's Bill, and it was introduced in the Tennessee Legislature as House Bill 2091 by William Lamberth (R-44) and Senate Bill 2096 by Jack Johnson (R-27). The ELVIS Act is an amendment to a 1984 law that was the result of the Elvis Presley estate litigation for controlling how his likeness could be used after death. == Lobbying from the recording industry == The legislative journey of the ELVIS Act included a broad coalition of music industry stakeholders, including: These organizations, led by the Recording Academy and the RIAA, played roles in drafting the legislation, advocating for passage, and rallying support among the industry and legislators. The act gained momentum through discussions that bridged industry concerns with legislative action. This collaborative process led to a proposal that specifically targets the use of AI to create unauthorized reproductions of artists' voices and images. == Opposition == The ELVIS Act saw industry opposition from the Motion Picture Association, including testimony in the House Banking & Consumer Affairs Subcommittee, including remarks that the law risks "interference with our members’ ability to portray real people and events." TechNet, representing companies such as OpenAI, Google and Amazon, expressed their opposition in the hearing to the bill as drafted, asserting that the language was too broadly written and could have unintended consequences. Other concerns included its potential application to cover bands, but lawmakers assured people that this was not the intention. The bill passed the Tennessee House and Senate with a unanimous, bi-partisan vote including 93 ayes and 0 Noes in the House, and 30 ayes and 0 noes in the Senate. == Passage == By explicitly addressing AI impersonation, the ELVIS Act originated a legal approach to safeguarding personal rights, in the context of digital and technological advancements. It extends protections to an artist's voice and likeness, areas vulnerable to exploitation with the proliferation of AI technologies that occurred in 2023. The legislation received widespread support from the music industry, signaling a significant step forward in the ongoing effort to balance innovation with the protection of individual rights and creative integrity. It was reported as underscoring Tennessee's commitment to its musical heritage and showed the state as a leader in adapting copyright and privacy protections to the modern technological landscape. Artists including Chris Janson and Luke Bryan appeared at the signing ceremony hosted at Robert's Western World to support the new law and commemorate its passing. == Legal precedent == The ELVIS Act was reported as representing a development in the discourse surrounding AI, intellectual property, and personal rights. It was hoped by proponents to set a precedent for future legislative efforts both within and beyond Tennessee, offering a model for how states and potentially the federal government could address similar challenges. As AI technology continues to evolve, the act represents a foundational framework for protecting the authenticity and rights of artists, ensuring contributions remain protected. The act prohibits usage of AI to clone the voice of an artist without consent and can be criminally enforced as a Class A misdemeanor. This legislation's success was hoped by its supporters to inspire similar actions in other states, contributing to a unified approach to copyright and privacy in the digital age. Such a national response would reinforce the importance of safeguarding artists' rights against unauthorized use of their voices and likenesses.
Read more →
No Fakes Act

The NO FAKES Act or the Nurture Originals, Foster Art, and Keep Entertainment Safe Act, is proposed United States federal legislation concerning digital replicas. The bill was first introduced in 2023 as a discussion draft, formally introduced in 2024, and reintroduced in 2025. If enacted, the bill would establish a federal right of publicity, giving public figures and private individuals greater control over the creation and use of digital replicas of their likenesses, including artificial intelligence (AI)-generated content. If passed, the NO FAKES Act would create a legal framework for licensing digital replicas, including provisions for liability, safe harbors, and statutory exceptions. The proposal has received broad support from the entertainment and technology industries. However, digital rights organizations have raised concerns that the Act risks chilling protected speech. == Background == === Entertainment industry concerns === Actors’ concerns over studios' use of their digital likeness were one of the primary drivers of the Screen Actors Guild–American Federation of Television and Radio Artists (SAG-AFTRA) strike in 2023. Negotiators for SAG-AFTRA alleged that the Alliance of Motion Picture and Television Producers (AMPTP) sought to use the digital likenesses of actors in perpetuity and would try to replace union members, especially background actors. The AMPTP denied SAG-AFTRA's interpretation of its proposal. In November 2023, AMPTP and SAG-AFTRA reached an agreement on the use of actors’ digital replicas, which included requirements for consent and compensation. Recording labels have also expressed concerns over unauthorized digital replicas of their performers' likeness. In 2023, TikTok user Ghostwriter977 released "Heart on My Sleeve," an AI-produced song in the styles of Drake and the Weeknd. After the song received millions of streams, the Universal Music Group (UMG) initiated takedown requests to TikTok and YouTube, which removed the song from their platforms. The legal arguments attorneys made were not disclosed; however, commentators noted that they likely used the Digital Millennium Copyright Act (DMCA). This presented a novel scenario, since UMG did not have licensing rights to "Heart on My Sleeve." According to The Verge, UMG based its DMCA takedown request on an unauthorized sample used at the start of the song for the producer tag. While legal commentators noted that UMG could have asserted a violation of the artists’ rights of publicity, existing state right of publicity laws do not provide notice-and-takedown mechanisms comparable to those under the DMCA. === Legal landscape === Legal scholars have observed that AI-generated digital replicas raise questions under existing copyright and intellectual property law. U.S. copyright law generally requires that original authorship be attributable to a human; however, the extent of human intervention needed to satisfy this requirement is not clear. Copyright holders have filed lawsuits against AI companies alleging unauthorized usage of copyrighted material to train their models, though many of these cases remain pending. In terms of outputs, record labels often hold rights to artists’ musical works but do not necessarily control the artists’ voice, appearance, or likeness in the same way. As a result, AI-generated recordings such as "Heart on My Sleeve" may fall outside the scope of certain traditional copyright protections. Individuals' likenesses have historically been governed under the Lanham Act, the Federal Trade Commission Act, and right of publicity laws. The right of publicity, recognized in many state-level statutes and common law, allows individuals to bring legal claims against unauthorized commercial use of their identities. It has often, but not exclusively, been applied to celebrities or other recognizable individuals. There is no federal-level right to publicity, and state-level protections vary, especially on issues relating to digital replicas and posthumous rights, which makes it difficult for creators or other individuals to prevent unauthorized use of their likenesses. In July 2024, the U.S. Copyright Office released a report on digital replicas and recommended that Congress create a federal law to protect individuals from unauthorized uses of their digital replicas, noting the inadequacy, narrowness, and inconsistency of existing laws. == Provisions == Under the NO FAKES Act of 2025, a digital replica is defined as "a newly created, computer-generated, highly realistic electronic representation that is readily identifiable as the voice or visual likeness of an individual," living or dead. A digital replica can be embodied in sound recordings, images, or audiovisual works in which the individual did not perform or in which the individual did perform but the "fundamental character of the performance or appearance has been materially altered." The Act specifies that digital replicas do not include reproduced samples of works authorized by the copyright holder. The Act defines a "right holder" as either the individual who is the subject of a digital replica or an entity that has acquired the rights to that individual’s likeness. The Act grants right holders the exclusive right to authorize the use of an individual’s likeness in a digital replica. This right is not assignable during the individual’s lifetime; however, it can be licensed to a living individual for up to 10 years under certain conditions. Postmortem rights The Act provides that the right does not automatically expire upon an individual’s death. It may be transferred to executors, heirs, or other parties designated by the individual. The right is held by the right holder for 10 years following the individual’s death. If the right holder demonstrates active use of the digital replica within the 2 years preceding the end of the 10-year term, the right may be extended for an additional 5-year period. These five-year extensions may be renewed for up to 70 years after the individual’s death. Liability The Act establishes liability for individuals who knowingly distribute a digital replica without authorization from the right holder, as well as for entities that make available a service primarily designed to produce unlawful digital replicas. Safe harbor provisions Similar to the Communications Decency Act and the DMCA, the Act establishes safe harbor provisions for online service providers. Providers are shielded from liability if they adopt and inform users of a policy for terminating accounts that repeatedly violate the Act. The NO FAKES Act does not require online services to proactively monitor content. Instead, it creates a notice-and-takedown mechanism under which providers must promptly respond to notifications seeking the removal of unauthorized digital replicas. These safe harbor protections apply only if the online service provider designates an agent with the U.S. Copyright Office to receive notifications of alleged violations. Remedies The NO FAKES Act provides remedies that are similar to those available under U.S. copyright law. Under the Act, individuals may be held liable for either statutory damages of $5,000 or actual damages for creating or distributing an unauthorized digital replica. The legislation also establishes a tiered liability framework for online service providers. Those that make good faith efforts to comply with the Act may face statutory damages of up to $25,000 per work for violations or actual damages. Providers that do not undertake such compliance efforts may be liable for $5,000 per unauthorized display or transmission of a digital replica, with damages capped at $750,000 per work. Exclusions The Act includes several exceptions to liability that are modeled in part on fair use principles. Digital replicas are excluded from liability when "used in a bona fide news, public affairs, or sports broadcast or account;" in a documentary or historical context; or in a way that is "consistent with the public interest." These exclusions do not apply to de minimis uses or to digital replicas that are sexually explicit in nature. The Act further states that licensing requirements do not apply to licenses established through collective bargaining agreements that contain provisions governing the use of digital replicas. The Act does not impose secondary liability on providers of generative artificial intelligence tools or services whose primary purpose is not the creation of unauthorized digital replicas. Preemption The NO FAKES Act preempts laws that protect "an individual's voice and visual likeness rights in connection with a digital replica, as defined in this Act, in an expressive work." However, the Act preserves state laws governing digital replicas enacted before January 2, 2025, as well as state laws addressing digital replicas that portray sexually explicit conduct. == History == In 2023, Senators Marsha Blackburn, Chris Coons, Amy Klobuchar, and Th
Read more →
Automated Mathematician

The Automated Mathematician (AM) is one of the earliest successful discovery systems. It was created by Douglas Lenat in Lisp, and in 1977 led to Lenat being awarded the IJCAI Computers and Thought Award. AM worked by generating and modifying short Lisp programs which were then interpreted as defining various mathematical concepts; for example, a program that tested equality between the length of two lists was considered to represent the concept of numerical equality, while a program that produced a list whose length was the product of the lengths of two other lists was interpreted as representing the concept of multiplication. The system had elaborate heuristics for choosing which programs to extend and modify, based on the experiences of working mathematicians in solving mathematical problems. == Controversy == Lenat claimed that the system was composed of hundreds of data structures called "concepts", together with hundreds of "heuristic rules" and a simple flow of control: "AM repeatedly selects the top task from the agenda and tries to carry it out. This is the whole control structure!" Yet the heuristic rules were not always represented as separate data structures; some had to be intertwined with the control flow logic. Some rules had preconditions that depended on the history, or otherwise could not be represented in the framework of the explicit rules. What's more, the published versions of the rules often involve vague terms that are not defined further, such as "If two expressions are structurally similar, ..." (Rule 218) or "... replace the value obtained by some other (very similar) value..." (Rule 129). Another source of information is the user, via Rule 2: "If the user has recently referred to X, then boost the priority of any tasks involving X." Thus, it appears quite possible that much of the real discovery work is buried in unexplained procedures. Lenat claimed that the system had rediscovered both Goldbach's conjecture and the fundamental theorem of arithmetic. Later critics accused Lenat of over-interpreting the output of AM. In his paper Why AM and Eurisko appear to work, Lenat conceded that any system that generated enough short Lisp programs would generate ones that could be interpreted by an external observer as representing equally sophisticated mathematical concepts. However, he argued that this property was in itself interesting—and that a promising direction for further research would be to look for other languages in which short random strings were likely to be useful. == Successor == This intuition was the basis of AM's successor Eurisko, which attempted to generalize the search for mathematical concepts to the search for useful heuristics.
Read more →
Utah Artificial Intelligence Policy Act

The Utah Artificial Intelligence Policy Act (SB-149) was signed into law in Utah in 2024 and amended in 2025. The first state law in the United States specifically regulating generative AI, it went into effect on May 1, 2024. The law requires companies to disclose if their customers interact with AI instead of a human. It also established an Office of Artificial Intelligence Policy. Amendments to the Act went into effect on May 7, 2025. While the 2024 Act requires companies to disclose generative AI use when asked by customers, the amendments introduced stricter requirements for higher-risk interactions. SB 226 mandates disclosure of AI use in high-risk interactions involving health, financial, and biometric data, or when providing consumers with advice on financial, legal, or healthcare matters.
Read more →
Pattern language

A pattern language is an organized and coherent set of patterns, each of which describes a problem and the core of a solution that can be used in many ways within a specific field of expertise. The term was coined by architect Christopher Alexander and popularized by his 1977 book A Pattern Language. A pattern language can also be an attempt to express the deeper wisdom of what brings aliveness within a particular field of human endeavor, through a set of interconnected patterns. Aliveness is one placeholder term for "the quality that has no name": a sense of wholeness, spirit, or grace, that while of varying form, is precise and empirically verifiable. Alexander claims that ordinary people can use this design approach to successfully solve very large, complex design problems. == What is a pattern? == When a designer designs something – whether a house, computer program, or lamp – they must make many decisions about how to solve problems. A single problem is documented with its typical place (the syntax), and use (the grammar) with the most common and recognized good solution seen in the wild, like the examples seen in dictionaries. Each such entry is a single design pattern. Each pattern has a name, a descriptive entry, and some cross-references, much like a dictionary entry. A documented pattern should explain why that solution is good in the pattern's contexts. Elemental or universal patterns such as "door" or "partnership" are versatile ideals of design, either as found in experience or for use as components in practice, explicitly described as holistic resolutions of the forces in recurrent contexts and circumstances, whether in architecture, medicine, software development or governance, etc. Patterns might be invented or found and studied, such as the naturally occurring patterns of design that characterize human environments. Like all languages, a pattern language has vocabulary, syntax, and grammar – but a pattern language applies to some complex activity other than communication. In pattern languages for design, the parts break down in this way: The language description – the vocabulary – is a collection of named, described solutions to problems in a field of interest. These are called design patterns. So, for example, the language for architecture describes items like: settlements, buildings, rooms, windows, latches, etc. Each solution includes syntax, a description that shows where the solution fits in a larger, more comprehensive or more abstract design. This automatically links the solution into a web of other needed solutions. For example, rooms have ways to get light, and ways to get people in and out. The solution includes grammar that describes how the solution solves a problem or produces a benefit. So, if the benefit is unneeded, the solution is not used. Perhaps that part of the design can be left empty to save money or other resources; if people do not need to wait to enter a room, a simple doorway can replace a waiting room. In the language description, grammar and syntax cross index (often with a literal alphabetic index of pattern names) to other named solutions, so the designer can quickly think from one solution to related, needed solutions, and document them in a logical way. In Christopher Alexander's book A Pattern Language, the patterns are in decreasing order by size, with a separate alphabetic index. The web of relationships in the index of the language provides many paths through the design process. This simplifies the design work because designers can start the process from any part of the problem they understand and work toward the unknown parts. At the same time, if the pattern language has worked well for many projects, there is reason to believe that even a designer who does not completely understand the design problem at first will complete the design process, and the result will be usable. For example, skiers coming inside must shed snow and store equipment. The messy snow and boot cleaners should stay outside. The equipment needs care, so the racks should be inside. == Many patterns form a language == Just as words must have grammatical and semantic relationships to each other in order to make a spoken language useful, design patterns must be related to each other in position and utility order to form a pattern language. Christopher Alexander's work describes a process of decomposition, in which the designer has a problem (perhaps a commercial assignment), selects a solution, then discovers new, smaller problems resulting from the larger solution. Occasionally, the smaller problems have no solution, and a different larger solution must be selected. Eventually all of the remaining design problems are small enough or routine enough to be solved by improvisation by the builders, and the "design" is done. The actual organizational structure (hierarchical, iterative, etc.) is left to the discretion of the designer, depending on the problem. This explicitly lets a designer explore a design, starting from some small part. When this happens, it's common for a designer to realize that the problem is actually part of a larger solution. At this point, the design almost always becomes a better design. In the language, therefore, each pattern has to indicate its relationships to other patterns and to the language as a whole. This gives the designer using the language a great deal of guidance about the related problems that must be solved. The most difficult part of having an outside expert apply a pattern language is in fact to get a reliable, complete list of the problems to be solved. Of course, the people most familiar with the problems are the people that need a design. So, Alexander famously advocated on-site improvisation by concerned, empowered users, as a powerful way to form very workable large-scale initial solutions, maximizing the utility of a design, and minimizing the design rework. The desire to empower users of architecture was, in fact, what led Alexander to undertake a pattern language project for architecture in the first place. == Design problems in a context == An important aspect of design patterns is to identify and document the key ideas that make a good system different from a poor system (that may be a house, a computer program or an object of daily use), and to assist in the design of future systems. The idea expressed in a pattern should be general enough to be applied in very different systems within its context, but still specific enough to give constructive guidance. The range of situations in which the problems and solutions addressed in a pattern apply is called its context. An important part in each pattern is to describe this context. Examples can further illustrate how the pattern applies to very different situation. For instance, Alexander's pattern "A PLACE TO WAIT" addresses bus stops in the same way as waiting rooms in a surgery, while still proposing helpful and constructive solutions. The "Gang-of-Four" book Design Patterns by Gamma et al. proposes solutions that are independent of the programming language, and the program's application domain. Still, the problems and solutions described in a pattern can vary in their level of abstraction and generality on the one side, and specificity on the other side. In the end this depends on the author's preferences. However, even a very abstract pattern will usually contain examples that are, by nature, absolutely concrete and specific. Patterns can also vary in how far they are proven in the real world. Alexander gives each pattern a rating by zero, one or two stars, indicating how well they are proven in real-world examples. It is generally claimed that all patterns need at least some existing real-world examples. It is, however, conceivable to document yet unimplemented ideas in a pattern-like format. The patterns in Alexander's book also vary in their level of scale – some describing how to build a town or neighbourhood, others dealing with individual buildings and the interior of rooms. Alexander sees the low-scale artifacts as constructive elements of the large-scale world, so they can be connected to a hierarchic network. === Balancing of forces === A pattern must characterize the problems that it is meant to solve, the context or situation where these problems arise, and the conditions under which the proposed solutions can be recommended. Often these problems arise from a conflict of different interests or "forces". A pattern emerges as a dialogue that will then help to balance the forces and finally make a decision. For instance, there could be a pattern suggesting a wireless telephone. The forces would be the need to communicate, and the need to get other things done at the same time (cooking, inspecting the bookshelf). A very specific pattern would be just "WIRELESS TELEPHONE". More general patterns would be "WIRELESS DEVICE" or "SECONDARY ACTIVITY", suggesting that a secondary activity (such as talking on t
Read more →
Dataism

Dataism is a term that has been used to describe the mindset or philosophy created by the emerging significance of big data. It was first used by David Brooks in The New York Times in 2013. The term has been expanded to describe what historian Yuval Noah Harari, in his book Homo Deus: A Brief History of Tomorrow from 2015, calls an emerging ideology or even a new form of religion, in which "information flow" is the "supreme value". In art, the term was used by Albert-Laszlo Barabasi to refer to an artist movement that uses data as its primary source of inspiration. == History == "If you asked me to describe the rising philosophy of the day, I'd say it is Data-ism", wrote David Brooks in The New York Times in February 2013. Brooks argued that in a world of increasing complexity, relying on data could reduce cognitive biases and "illuminate patterns of behavior we haven't yet noticed". In 2015, Steve Lohr's book Data-ism looked at how Big Data is transforming society, using the term to describe the Big Data revolution. In his 2016 book Homo Deus: A Brief History of Tomorrow, Yuval Noah Harari argues that all competing political or social structures can be seen as data processing systems: "Dataism declares that the universe consists of data flows, and the value of any phenomenon or entity is determined by its contribution to data processing" and "we may interpret the entire human species as a single data processing system, with individual humans serving as its chips." According to Harari, a Dataist should want to "maximise dataflow by connecting to more and more media". Harari predicts that the logical conclusion of this process is that, eventually, humans will give algorithms the authority to make the most important decisions in their lives, such as whom to marry and which career to pursue. Harari argues that Aaron Swartz could be called the "first martyr" of Dataism. In 2022, Albert-László Barabási coined the term "Dataism" to define an artistic movement that positions data as the central means of understanding nature, society, technology, and human essence. This movement underscores the necessity for art to integrate with data to stay relevant in contemporary society. Dataism responds to the intricacy and interconnectedness of modern social, economic, and technological realms, which exceed individual understanding. Advocating for the use of methodologies from various fields like science, business, and politics in art, Dataism sees this fusion as essential for art to retain its significance and influence. == Criticism == Commenting on Harari's characterisation of Dataism, security analyst Daniel Miessler believes that Dataism does not present the challenge to the ideology of liberal humanism that Harari claims, because humans will simultaneously be able to believe in their own importance and that of data. Harari himself raises some criticisms, such as the problem of consciousness, which Dataism is unlikely to illuminate. Humans may also find out that organisms are not algorithms, he suggests. Dataism implies that all data is public, even personal data, to make the system work as a whole, which is a factor that's already showing resistance today. Other analysts, such as Terry Ortleib, have looked at the extent to which Dataism poses a dystopian threat to humanity. The Facebook–Cambridge Analytica data scandal showed how political leaders manipulated Facebook's users' data to build specific psychological profiles that went on to manipulate the network. A team of data analysts reproduced the AI technology developed by Cambridge Analytica around Facebook's data and was able to define the following rules: 10 likes enables a machine to know a person like a coworker, 70 likes like a friend would, 150 likes like a parent would, 300 likes like a lover would, and beyond it may be possible to know a people better than they know themselves.
Read more →
Decision list

Decision lists are a representation for Boolean functions which can be easily learned from examples. Single term decision lists are more expressive than disjunctions and conjunctions; however, 1-term decision lists are less expressive than the general disjunctive normal form and the conjunctive normal form. The language specified by a k-length decision list includes as a subset the language specified by a k-depth decision tree. Learning decision lists can be used for attribute efficient learning, a type of machine learning. == Definition == A decision list (DL) of length r is of the form: if f1 then output b1 else if f2 then output b2 ... else if fr then output br where fi is the ith formula and bi is the ith boolean for i ∈ { 1... r } {\displaystyle i\in \{1...r\}} . The last if-then-else is the default case, which means formula fr is always equal to true. A k-DL is a decision list where all of formulas have at most k terms. Sometimes "decision list" is used to refer to a 1-DL, where all of the formulas are either a variable or its negation.
Read more →
Simultaneous localization and mapping

Simultaneous localization and mapping (SLAM) is a process where a computer constructs or updates a map of an unknown environment while simultaneously keeping track of an entity's location within it. While this initially appears to be a chicken or the egg problem, there are several algorithms known to solve it in, at least approximately, tractable time for certain environments. Popular approximate solution methods include the particle filter, extended Kalman filter, covariance intersection, and GraphSLAM. SLAM algorithms are based on concepts in computational geometry and computer vision, and are used in robot navigation, robotic mapping and odometry for virtual reality or augmented reality. SLAM algorithms are tailored to the available resources and are not aimed at perfection but at operational compliance. Published approaches are employed in self-driving cars, unmanned aerial vehicles, autonomous underwater vehicles, planetary rovers, newer domestic robots and even inside the human body. == Mathematical description of the problem == Given a series of controls u t {\displaystyle u_{t}} and sensor observations o t {\displaystyle o_{t}} over discrete time steps t {\displaystyle t} , the SLAM problem is to compute an estimate of the agent's state x t {\displaystyle x_{t}} and a map of the environment m t {\displaystyle m_{t}} . All quantities are usually probabilistic, so the objective is to compute P ( m t + 1 , x t + 1 | o 1 : t + 1 , u 1 : t ) {\displaystyle P(m_{t+1},x_{t+1}|o_{1:t+1},u_{1:t})} Applying Bayes' rule gives a framework for sequentially updating the location posteriors, given a map and a transition function P ( x t | x t − 1 ) {\displaystyle P(x_{t}|x_{t-1})} , P ( x t | o 1 : t , u 1 : t , m t ) = ∑ m t − 1 P ( o t | x t , m t , u 1 : t ) ∑ x t − 1 P ( x t | x t − 1 ) P ( x t − 1 | m t , o 1 : t − 1 , u 1 : t ) / Z {\displaystyle P(x_{t}|o_{1:t},u_{1:t},m_{t})=\sum _{m_{t-1}}P(o_{t}|x_{t},m_{t},u_{1:t})\sum _{x_{t-1}}P(x_{t}|x_{t-1})P(x_{t-1}|m_{t},o_{1:t-1},u_{1:t})/Z} where Z {\displaystyle Z} is the normalization constant, which ensures all the probabilities sum up to 1. Similarly the map can be updated sequentially by P ( m t | x t , o 1 : t , u 1 : t ) = ∑ x t ∑ m t P ( m t | x t , m t − 1 , o t , u 1 : t ) P ( m t − 1 , x t | o 1 : t − 1 , m t − 1 , u 1 : t ) {\displaystyle P(m_{t}|x_{t},o_{1:t},u_{1:t})=\sum _{x_{t}}\sum _{m_{t}}P(m_{t}|x_{t},m_{t-1},o_{t},u_{1:t})P(m_{t-1},x_{t}|o_{1:t-1},m_{t-1},u_{1:t})} Like many inference problems, the solutions to inferring the two variables together can be found, to a local optimum solution, by alternating updates of the two beliefs in a form of an expectation–maximization algorithm. == Algorithms == Statistical techniques used to approximate the above equations include Kalman filters and particle filters (the algorithm behind Monte Carlo Localization). They provide an estimation of the posterior probability distribution for the pose of the robot and for the parameters of the map. Methods which conservatively approximate the above model using covariance intersection are able to avoid reliance on statistical independence assumptions to reduce algorithmic complexity for large-scale applications. Other approximation methods achieve improved computational efficiency by using simple bounded-region representations of uncertainty. Set-membership techniques are mainly based on interval constraint propagation. They provide a set which encloses the pose of the robot and a set approximation of the map. Bundle adjustment, and more generally maximum a posteriori estimation (MAP), is another popular technique for SLAM using image data, which jointly estimates poses and landmark positions, increasing map fidelity, and is used in commercialized SLAM systems such as Google's ARCore which replaces their prior augmented reality computing platform named Tango, formerly Project Tango. MAP estimators compute the most likely explanation of the robot poses and the map given the sensor data, rather than trying to estimate the entire posterior probability. New SLAM algorithms remain an active research area, and are often driven by differing requirements and assumptions about the types of maps, sensors and models as detailed below. Many SLAM systems can be viewed as combinations of choices from each of these aspects. === Mapping === Topological maps are a method of environment representation which capture the connectivity (i.e., topology) of the environment rather than creating a geometrically accurate map. Topological SLAM approaches have been used to enforce global consistency in metric SLAM algorithms. In contrast, grid maps use arrays (typically square or hexagonal) of discretized cells to represent a topological world, and make inferences about which cells are occupied. Typically the cells are assumed to be statistically independent to simplify computation. Under such assumption, P ( m t | x t , m t − 1 , o t ) {\displaystyle P(m_{t}|x_{t},m_{t-1},o_{t})} are set to 1 if the new map's cells are consistent with the observation o t {\displaystyle o_{t}} at location x t {\displaystyle x_{t}} and 0 if inconsistent. Modern self driving cars mostly simplify the mapping problem to almost nothing, by making extensive use of highly detailed map data collected in advance. This can include map annotations to the level of marking locations of individual white line segments and curbs on the road. Location-tagged visual data such as Google's StreetView may also be used as part of maps. Essentially such systems simplify the SLAM problem to a simpler localization only task, perhaps allowing for moving objects such as cars and people only to be updated in the map at runtime. === Sensing === SLAM will always use several different types of sensors, and the powers and limits of various sensor types have been a major driver of new algorithms. Statistical independence is the mandatory requirement to cope with metric bias and with noise in measurements. Different types of sensors give rise to different SLAM algorithms which assumptions are most appropriate to the sensors. At one extreme, laser scans or visual features provide details of many points within an area, sometimes rendering SLAM inference unnecessary because shapes in these point clouds can be easily and unambiguously aligned at each step via image registration. At the opposite extreme, tactile sensors are extremely sparse as they contain only information about points very close to the agent, so they require strong prior models to compensate in purely tactile SLAM. Most practical SLAM tasks fall somewhere between these visual and tactile extremes. Sensor models divide broadly into landmark-based and raw-data approaches. Landmarks are uniquely identifiable objects in the world which location can be estimated by a sensor, such as Wi-Fi access points or radio beacons. Raw-data approaches make no assumption that landmarks can be identified, and instead model P ( o t | x t ) {\displaystyle P(o_{t}|x_{t})} directly as a function of the location. Optical sensors may be one-dimensional (single beam) or 2D- (sweeping) laser rangefinders, 3D high definition light detection and ranging (lidar), 3D flash lidar, 2D or 3D sonar sensors, and one or more 2D cameras. Since the invention of local features, such as SIFT, there has been intense research into visual SLAM (VSLAM) using primarily visual (camera) sensors, because of the increasing ubiquity of cameras such as those in mobile devices. Follow up research includes. Both visual and lidar sensors are informative enough to allow for landmark extraction in many cases. Other recent forms of SLAM include tactile SLAM (sensing by local touch only), radar SLAM, acoustic SLAM, and Wi-Fi-SLAM (sensing by strengths of nearby Wi-Fi access points). Recent approaches apply quasi-optical wireless ranging for multi-lateration (real-time locating system (RTLS)) or multi-angulation in conjunction with SLAM as a tribute to erratic wireless measures. A kind of SLAM for human pedestrians uses a shoe mounted inertial measurement unit as the main sensor and relies on the fact that pedestrians are able to avoid walls to automatically build floor plans of buildings by an indoor positioning system. For some outdoor applications, the need for SLAM has been almost entirely removed due to high precision differential GPS sensors. From a SLAM perspective, these may be viewed as location sensors which likelihoods are so sharp that they completely dominate the inference. However, GPS sensors may occasionally decline or go down entirely, e.g. during times of military conflict, which are of particular interest to some robotics applications. === Kinematics modeling === The P ( x t | x t − 1 ) {\displaystyle P(x_{t}|x_{t-1})} term represents the kinematics of the model, which usually include information about action commands given to a robot. As a part of the model, the kinematics of the robot is included, to improve estimates of sensing under con
Read more →
Political Declaration on Responsible Military Use of Artificial Intelligence and Autonomy

The Political Declaration on Responsible Military Use of Artificial Intelligence and Autonomy is an international norms and arms control proposal by the U.S. government for artificial intelligence in the military. It was announced at the Summit on Responsible Artificial Intelligence in the Military Domain by Bonnie Jenkins, Under Secretary of State for Arms Control. As of January 2024, fifty-one countries have signed the declaration. The US government sees it as an extension of the Department of Defense Directive 3000.09 which is the current US policy on autonomous weapons. It covers areas such as Lethal autonomous weapons and weapons decision-making.
Read more →
Generative AI Copyright Disclosure Act

The Generative AI Copyright Disclosure Act is a piece of legislation introduced by California Representative Adam Schiff in the United States Congress on April 9, 2024. It concerns the transparency of companies regarding their use of copyrighted work to train their generative artificial intelligence (AI) models. The legislation requires the submission of a notice regarding the identity and the uniform resource locator (URL) address of the copyrighted works used in the training data to the Register of Copyrights at least 30 days before the public release of the new or updated version of the AI model; it does not ban the use of copyrighted works for AI training. The bill's requirements would apply retroactively to prior AI models. Violation penalties would start at US$5,000. The legislation does not have a maximum penalty assessment that can be charged. The bill by Schiff was introduced a few days after The New York Times published an article regarding the business activities of major tech firms, including Google and Meta, in the training of their generative AI platforms on April 6, 2024. The legislation is supported by the Professional Photographers of America (PPA), SAG-AFTRA, the Writers Guild of America, the International Alliance of Theatrical Stage Employees (IATSE), the Recording Industry Association of America (RIAA), and others.
Read more →
Flok (company)

Flok (formerly Loyalblocks) was an American tech startup based in New York City that provides marketing services such as chatbots/AI, customer loyalty programs, mobile apps and CRM services to local businesses. In January 2017, the company was acquired by Wix.com. Around March 2017, Flok ceased regular communication. At some point in 2019 Flok communicated to its customers that it would shut down in March 2020. == Background == Flok was founded in 2011 by Ido Gaver and Eran Kirshenboim and has offices in Tel Aviv, Israel. In May 2013, Flok secured a $9 million Series A Round from General Catalyst Partners with participation from Founder Collective and existing investor Gemini Israel Ventures. In total, Flok has raised over $18 million in venture capital in three rounds. In May 2014, Flok announced a self-service loyalty platform for SMBs to build their own programs with beacon integration. At that time, approximately 40,000 businesses were using the service. In 2016, Flok released a turnkey chatbot service for local businesses, and was featured in AdWeek for developing the first weed bot chatbot for a California cannabis business. == Services == Flok offered an eponymous customer-facing app, that consumers use to receive rewards and deals from partner businesses, and a Flok business app for merchants to manage the platform.
Read more →
Kinect

Kinect is a discontinued line of motion sensing input devices produced by Microsoft and first released in 2010. The devices generally contain RGB cameras, and infrared projectors and detectors that map depth through either structured light or time of flight calculations, which can in turn be used to perform real-time gesture recognition and body skeletal detection, among other capabilities. They also contain microphones that can be used for speech recognition and voice control. Kinect was originally developed as a motion controller peripheral for Xbox video game consoles, distinguished from competitors (such as Nintendo's Wii Remote and Sony's PlayStation Move) by not requiring physical controllers. The first-generation Kinect was based on technology from Israeli company PrimeSense, and unveiled at E3 2009 as a peripheral for Xbox 360 codenamed "Project Natal". It was first released on November 4, 2010, and would go on to sell eight million units in its first 60 days of availability. The majority of the games developed for Kinect were casual, family-oriented titles, which helped to attract new audiences to Xbox 360, but did not result in wide adoption by the console's existing, overall userbase. As part of the 2013 unveiling of Xbox 360's successor, Xbox One, Microsoft unveiled a second-generation version of Kinect with improved tracking capabilities. Microsoft also announced that Kinect would be a required component of the console, and that it would not function unless the peripheral is connected. The requirement proved controversial among users and critics due to privacy concerns, prompting Microsoft to backtrack on the decision. However, Microsoft still bundled the new Kinect with Xbox One consoles upon their launch in November 2013. A market for Kinect-based games still did not emerge after the Xbox One's launch; Microsoft would later offer Xbox One hardware bundles without Kinect included, and later revisions of the console removed the dedicated ports used to connect it (requiring a powered USB adapter instead). Microsoft ended production of Kinect for Xbox One in October 2017. Kinect has also been used as part of non-game applications in academic and commercial environments, as it was cheaper and more robust than other depth-sensing technologies at the time. While Microsoft initially objected to such applications, it later released software development kits (SDKs) for the development of Microsoft Windows applications that use Kinect. In 2020, Microsoft released Azure Kinect as a continuation of the technology integrated with the Microsoft Azure cloud computing platform. Part of the Kinect technology was also used within Microsoft's HoloLens project. Microsoft discontinued the Azure Kinect developer kits in October 2023. == History == === Development === The origins of the Kinect started around 2005, at a point where technology vendors were starting to develop depth-sensing cameras. Microsoft had been interested in a 3D camera for the Xbox line earlier but because the technology had not been refined, had placed it in the "Boneyard", a collection of possible technology they could not immediately work on. In 2005, Israeli company PrimeSense was founded by mathematicians and engineers to develop the "next big thing" for video games, incorporating cameras that were capable of mapping a human body in front of them and sensing hand motions. They showed off their system at the 2006 Game Developers Conference, where Microsoft's Alex Kipman, the general manager of hardware incubation, saw the potential in PrimeSense's technology for the Xbox system. Microsoft began discussions with PrimeSense about what would need to be done to make their product more consumer-friendly: not only improvements in the capabilities of depth-sensing cameras, but a reduction in size and cost, and a means to manufacture the units at scale was required. PrimeSense spent the next few years working at these improvements. Nintendo released the Wii in November 2006. The Wii's central feature was the Wii Remote, a handheld device that was detected by the Wii through a motion sensor bar mounted onto a television screen to enable motion controlled games. Microsoft felt pressure from the Wii, and began looking into depth-sensing in more detail with PrimeSense's hardware, but could not get to the level of motion tracking they desired. While they could determine hand gestures, and sense the general shape of a body, they could not do skeletal tracking. A separate path within Microsoft looked to create an equivalent of the Wii Remote, considering that this type of unit may become standardized similar to how two-thumbstick controllers became a standard feature. However, it was still ultimately Microsoft's goal to remove any device between the player and the Xbox. Kudo Tsunoda and Darren Bennett joined Microsoft in 2008, and began working with Kipman on a new approach to depth-sensing aided by machine learning to improve skeletal tracking. They internally demonstrated this and established where they believed the technology could be in a few years, which led to the strong interest to fund further development of the technology; this has also occurred at a time that Microsoft executives wanted to abandon the Wii-like motion tracking approach, and favored the depth-sensing solution to present a product that went beyond the Wii's capabilities. The project was greenlit by late 2008 with work started in 2009. The project was codenamed "Project Natal" after the Brazilian city Natal, Kipman's birthplace. Additionally, Kipman recognized the Latin origins of the word "natal" to mean "to be born", reflecting the new types of audiences they hoped to draw with the technology. Much of the initial work was related to ethnographic research to see how video game players' home environments were laid out, lit, and how those with Wiis used the system to plan how Kinect units would be used. The Microsoft team discovered from this research that the up-and-down angle of the depth-sensing camera would either need to be adjusted manually, or would require an expensive motor to move automatically. Upper management at Microsoft opted to include the motor despite the increased cost to avoid breaking game immersion. Kinect project work also involved packaging the system for mass production and optimizing its performance. Hardware development took around 22 months. During hardware development, Microsoft engaged with software developers to use Kinect. Microsoft wanted to make games that would be playable by families since Kinect could sense multiple bodies in front of it. One of the first internal titles developed for the device was the pack-in game Kinect Adventures developed by Good Science Studio that was part of Microsoft Studios. One of the game modes of Kinect Adventures was "Reflex Ridge", based on the Japanese Brain Wall game where players attempt to contort their bodies in a short time to match cutouts of a wall moving at them. This type of game was a key example of the type of interactivity they wanted with Kinect, and its development helped feed into the hardware improvements. Another development was Project Milo, a prototype game developed by Lionhead Studios led by Peter Molyneux where the player could interact with a virtual avatar through motion controls and voice recognition. Lionhead had developed the project based on original capabilities of the Kinect, but according to Molyneux, Microsoft had found that a consumer-grade version of the Kinect would cost thousands of dollars, so they scaled back the device and refocused the role of games for the Kinect to be more casual games as seen on the Wii. As a result, Project Milo no longer fit Microsoft's portfolio and was cancelled. Nearing the planned release, there was a problem of widespread testing of Kinect in various room types and different bodies accounting for age, gender, and race among other factors, while keeping the details of the unit confidential. Microsoft engaged in a company-wide program offering employees to take home Kinect units to test them. Microsoft also brought other non-gaming divisions, including its Microsoft Research, Microsoft Windows, and Bing teams to help complete the system. Microsoft established its own large-scale manufacturing facility to bulk product Kinect units and test them. === Introduction === Kinect was first announced to the public as "Project Natal" on June 1, 2009, during Microsoft's press conference at E3 2009; film director Steven Spielberg joined Microsoft's Don Mattrick to introduce the technology and its potential. Three demos were presented during the conference—Microsoft's Ricochet and Paint Party, and Lionhead Studios' Milo & Kate created by Peter Molyneux—while a Project Natal-enabled version of Criterion Games' Burnout Paradise was shown during the E3 exhibition. By E3 2009, the skeletal mapping technology was capable of simultaneously tracking four people, with a feature extraction of 4
Read more →
OpenL Tablets

OpenL Tablets is a business rule management system (BRMS) and a business rules engine (BRE) based on table representation of rules. Engine implements optimized sequential algorithm. OpenL includes such table types as decision table, decision tree, spreadsheet-like calculator. == History == The OpenL Tablets project was started as an in-house development project in 2003 and later in 2006 was uploaded to SourceForge. Initially it was an open-source business rule engine for Java. Starting from version 5 it became a BRMS. == Technology == OpenL Tablets engine is specially designed for business rules and uses table rules presentation. Table format enforces rules to be structured and format itself is close to tables found in various business documents. OpenL Tablets is based on OpenL framework for creating custom languages running on Java VM. The engine is designed to allow pluggable language implementations. Currently, it uses 2 languages: table structure for rules format and java-like for code snippets in rules. Java-like language is Java 5.0 implementation with Business User Extensions. OpenL Tablets rules are mixture of declarative programming for rules logic and imperative programming for workflow control. Table formats are flexible enough to match the semantics of the problem domain. Tests, traces, benchmarks are integral part of the engine. It also provides powerful type definition capabilities to handle rules domain model inside rules files. The project is written in Java, but can be used at any platform using Service-oriented architecture approach, e.g. via web service. === Patents === The OpenL Tablets engine has patent pending validation feature. There are usages of OpenL Tablets which may be patented. == BRMS == OpenL Tablets includes several productivity tools and applications addressing BRMS related capabilities. They include web application to edit rules called OpenL WebStudio, web application to deploy rules as web services, Rules Repository to store and manage rules, Eclipse plug-ins to work with rules projects. == Related systems == CLIPS: public domain software tool for building expert systems. ILOG rules: a business rule management system. JBoss Drools: a business rule management system (BRMS). JESS: a rule engine for the Java platform - it is a superset of CLIPS programming language. Prolog: a general purpose logic programming language. DTRules: a Decision Table-based, open-sourced rule engine for Java.
Read more →