AI Chat Character Talkie

AI Chat Character Talkie — independent reviews, comparisons, pricing and step-by-step guides on Aizhi.

  • Chirplet transform

    Chirplet transform

    In signal processing, the chirplet transform is an inner product of an input signal with a family of analysis primitives called chirplets. Similar to the wavelet transform, chirplets are usually generated from (or can be expressed as being from) a single mother chirplet (analogous to the so-called mother wavelet of wavelet theory). == Definitions == The term chirplet transform was coined by Steve Mann, as the title of the first published paper on chirplets. The term chirplet itself (apart from chirplet transform) was also used by Steve Mann, Domingo Mihovilovic, and Ronald Bracewell to describe a windowed portion of a chirp function. In Mann's words: A wavelet is a piece of a wave, and a chirplet, similarly, is a piece of a chirp. More precisely, a chirplet is a windowed portion of a chirp function, where the window provides some time localization property. In terms of time–frequency space, chirplets exist as rotated, sheared, or other structures that move from the traditional parallelism with the time and frequency axes that are typical for waves (Fourier and short-time Fourier transforms) or wavelets. The chirplet transform thus represents a rotated, sheared, or otherwise transformed tiling of the time–frequency plane. Although chirp signals have been known for many years in radar, pulse compression, and the like, the first published reference to the chirplet transform described specific signal representations based on families of functions related to one another by time–varying frequency modulation or frequency varying time modulation, in addition to time and frequency shifting, and scale changes. In that paper, the Gaussian chirplet transform was presented as one such example, together with a successful application to ice fragment detection in radar (improving target detection results over previous approaches). The term chirplet (but not the term chirplet transform) was also proposed for a similar transform, apparently independently, by Mihovilovic and Bracewell later that same year. == Applications == The first practical application of the chirplet transform was in water-human-computer interaction (WaterHCI) for marine safety, to assist vessels in navigating through ice-infested waters, using marine radar to detect growlers (small iceberg fragments too small to be visible on conventional radar, yet large enough to damage a vessel). Other applications of the chirplet transform in WaterHCI include the SWIM (Sequential Wave Imprinting Machine). More recently other practical applications have been developed, including image processing (e.g. where there is periodic structure imaged through projective geometry), as well as to excise chirp-like interference in spread spectrum communications, in EEG processing, and Chirplet Time Domain Reflectometry. == Extensions == The warblet transform is a particular example of the chirplet transform introduced by Mann and Haykin in 1992 and now widely used. It provides a signal representation based on cyclically varying frequency modulated signals (warbling signals).

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  • 2024 Abu Dhabi Autonomous Racing League

    2024 Abu Dhabi Autonomous Racing League

    On 27 April 2024, the inaugural race of the Abu Dhabi Autonomous Racing League was held at the Yas Marina Circuit in Abu Dhabi. The race, originally scheduled to last eight laps, was ultimately shortened to six laps due to various complications, including subpar performance. It involved four self-driving race cars, only two of which – German cars Hailey and Constructor AI – finished the race; the other two did not finish. == Background == === Abu Dhabi Autonomous Racing League (A2RL) === The A2RL is an autonomous racing championship based in Abu Dhabi and organized by ASPIRE, part of the Advanced Technology Research Council. It is one of two active autonomous car racing championships, the second being the US-based Indy Autonomous Challenge. Unlike the IAC, which primarily focuses on time trials, simulated races, and challenges for teams, the A2RL's car races are closer to a standard grand prix formula race format. Both use Dallara-supplied racecars; the IAC uses the AV-24 chassis derived from Indy NXT's IL-15, while the A2RL chassis is designated EAV-24 and is derived from the SF-23 chassis used in Japanese Super Formula races. === Entrants === In total, eight teams were part of the A2RL in 2024, but only four would compete in the race proper. The list of teams in 2024 is: Fly Eagle (China/UAE) Code19 Racing (United States) Constructor University (Germany) Kinetiz (Singapore/UAE) Humda Lab (Hungary) PoliMove (Italy) Unimore (Italy) Technical University of Munich (Germany) Most teams come from universities and many, such as PoliMove and TUM, already have experience with autonomous racing, primarily from competing in the IAC. All teams had two months to code and test their AIs. Unlike most international open-wheel racing tournaments, such as Formula 1 or Formula E, no free practice sessions were undertaken. === TII Pre-race demonstration === Prior to the race itself, a mock 1v1 duel between former F1 driver Danill Kvyat and a self-driving car from the non-competing TII Racing team took place; the autonomous car was green and had number 01, while Kvyat's car was red and had number 00. Kvyat spent most of the duel in the pits. Kvyat himself said: "I'm not racing autonomous cars here. It won't be a flat-out race". == Qualifying == === Qualifying report === As only four of the eight entrants would compete in the main event, qualifying time trials were held to determine the four main race competitors, as well as their positions in the grid. Only the cars with the four best lap times over three time trial sessions held on Friday and Saturday would qualify. Multiple errors and setbacks occurred during qualifying. In the first session, Maveric AI, Code19's car, left the track and stopped just after turn 14 due to connectivity issues. Fly Eagle's car, Feiying, had multiple upsets; at one point, Feiying ran into localization issues and began swerving left and right before stopping just before turn 10. Later, Feiying swerved again and nearly hit the wall at the back straight, near the support pits, due to further localization issues. Sparkz, the Kinetiz team's car, swerved and crashed into the wall near yacht berths 51-56 after turn 11, damaging the front right wheel's axle and partially detaching the forward wings. Sparkz would be the only car to not have a set time at the end of the time trials. PoliMove car Eva braked hard without warning at the straight, the LED status indicator turning off, suggesting the AI computer had a system crash or shut itself down. After the sun went down, during the second session, Hailey, the car from the TUM team, went off-track after turn 9 and stopped, its status indicator flashing red, meaning Hailey's AI disengaged itself. Eva had further issues, once again braking hard and spinning out into turn 1. Later, the same thing happened to Feiying; it later swerved left and right and stopped due to further localization issues. The morning after, during the third and final session, Hailey went off-track after turn 5, and were unable to regain the pole position. === Qualifying classification === == Attack/Defend challenge == === Attack/Defend challenge report === In this part of the event, cars would be put on a series of 1v1 duels to see how well they could defend their position or attack to gain one higher. During one such duel, an incident occurred where Hailey rear-ended Eva, sending both off the track and prematurely ending the duel. The challenge was otherwise uneventful. === Attack/Defend challenge results === == Main race == === Race report === Eventually, at around 20:30 Gulf Standard Time on the night of 27 April, the main event (termed the "Grand Final" on-stream) would begin. The starting order was Eva first, Gianna second, Hailey third, and Constructor AI last. The race began with a rolling start. As a safety measure, the first two laps were conducted under virtual safety car (VSC) to make sure the cars stayed together, making them de facto formation laps, even if they counted towards race distance. However, Hailey ended up stopping at the final turn and strayed too far from the cars ahead, and as a result, the VSC conditions were extended for another lap. According to the livestream's on-screen graphics, Hailey was upwards of one minute and 22.3 seconds behind Gianna after the former started moving again. On lap 4, halfway through the planned race, and with Hailey more than 30 seconds behind Gianna, the VSC was lifted, and the green flag finally dropped. At first, the two Italian cars were leading the pack, Eva was the race leader with Gianna 3.2 seconds behind, however, as it entered the chicane, Eva hit the brakes and spun out, with Gianna briefly stopping as it passed Eva. Eva's spin automatically triggered a full-course yellow flag. Normally, under yellow flag conditions, overtaking is not permitted, but with Eva stopped and being moved off the track, it was theoretically permitted to overtake Eva. However, presumably due to an oversight in the AI's code, the cars assumed overtaking Eva, despite being off the track, was not permitted. As a result, both Gianna and Constructor AI stopped as they did not want to overtake Eva due to the yellow flag, with Hailey following suit as it approached. Constructor AI's status indicator was solid red, suggesting the AI had disengaged; however, Gianna's status indicator remained solid purple, showing the AI was still in control. Eva's status indicator was also solid purple, but was soon flashing green, suggesting the AI had disengaged but was ready to take control again. With all cars stalled, and Eva being off the track, the race was effectively red-flagged and suspended. Hailey, Gianna, and Constructor AI drove themselves back to their team's pits; Eva did not, it was towed to the main pits on a flatbed truck. Constructor was the first to arrive at the pits, followed by Gianna and Hailey, in that order. This incident, combined with loss of internet connection, led to Eva retiring - it did not finish the race. Eventually, it was decided to resume the race. With Eva retired, the restart order was Gianna first, Hailey second, and Constructor AI third. The race was also shortened - from eight laps to six. With lap 5 under full-course yellow, this meant all three remaining teams would effectively restart the race on the sixth and final lap. The trio left the pits at 22:25 Gulf Standard Time, and the race resumed two minutes later. At first, Gianna was winning with Hailey 2.6 seconds behind, but then Gianna stopped on turn 5, giving Hailey the lead. Constructor AI also overtook Gianna, but not without briefly stopping. Gianna remained stopped, its status indicator solid red - it did not finish either. With both Italian teams out of the picture, Hailey finished first and won A2RL 2024, with Constructor AI finishing second, 27.2 seconds behind. === Final race classification ===

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  • Deepfake pornography

    Deepfake pornography

    Deepfake pornography is a form of non-consensual AI pornography created by altering existing photographs or videos using deepfake technology to modify the appearance of the participants. The use of deepfake pornography has sparked controversy because it involves the making and sharing of realistic videos featuring non-consenting individuals and is sometimes used for revenge porn. Many countries have criminalized this "new voyeurism" through legislative measures and technological solutions. == History == The term "deepfake" was coined in 2017 on a Reddit forum where users shared altered pornographic videos created using machine learning algorithms. It is a combination of the word "deep learning", which refers to the program used to create the videos, and "fake" meaning the videos are not real. Deepfake pornography was originally created on a small individual scale using a combination of machine learning algorithms, computer vision techniques, and AI software. The process began by gathering a large amount of source material (including both images and videos) of a person's face, and then using a deep learning model to train a Generative Adversarial Network to create a fake video that convincingly swaps the face of the source material onto the body of a pornographic performer. However, the production process has significantly evolved since 2018, with the advent of several public apps that have largely automated the process. While several AI "nudification" apps emerged on mainstream platforms like Google Play and the Apple App Store around 2023, major tech storefronts have since implemented stricter policies and automated detection to ban such software. Consequently, the proliferation of non-consensual deepfake pornography has largely shifted to decentralized websites, specialized online forums, and third-party messaging bot ecosystems. Deepfake pornography is sometimes confused with fake nude photography, but the two are mostly different. Fake nude photography typically uses non-sexual images and merely makes it appear that the people in them are nude. == Notable cases == Deepfake technology has been used to create non-consensual and pornographic images and videos of famous women. One of the earliest examples occurred in 2017 when a deepfake pornographic video of Gal Gadot was created by a Reddit user and quickly spread online. Since then, there have been numerous instances of similar deepfake content targeting other female celebrities, such as Emma Watson, Natalie Portman, and Scarlett Johansson. Johansson spoke publicly on the issue in December 2018, condemning the practice but also refusing legal action because she views the harassment as inevitable. === Rana Ayyub === In 2018, Rana Ayyub, an Indian investigative journalist, was the target of an online hate campaign stemming from her condemnation of the Indian government, specifically her speaking out against the rape of an eight-year-old Kashmiri girl. Ayyub was bombarded with rape and death threats, and had a doctored pornographic video of her circulated online. In a Huffington Post article, Ayyub discussed the long-lasting psychological and social effects this experience has had on her. She explained that she continued to struggle with her mental health and how the images and videos continued to resurface whenever she took a high-profile case. === Atrioc controversy === In 2023, Twitch streamer Atrioc stirred controversy when he accidentally revealed deepfake pornographic material featuring female Twitch streamers while on live. The influencer has since admitted to paying for AI generated porn, and apologized to the women and his fans. === Taylor Swift === In January 2024, AI-generated sexually explicit images of American singer Taylor Swift were posted on X (formerly Twitter), and spread to other platforms such as Facebook, Reddit and Instagram. One tweet with the images was viewed over 45 million times before being removed. A report from 404 Media found that the images appeared to have originated from a Telegram group, whose members used tools such as Microsoft Designer to generate the images, using misspellings and keyword hacks to work around Designer's content filters. After the material was posted, Swift's fans posted concert footage and images to bury the deepfake images, and reported the accounts posting the deepfakes. Searches for Swift's name were temporarily disabled on X, returning an error message instead. Graphika, a disinformation research firm, traced the creation of the images back to a 4chan community. A source close to Swift told the Daily Mail that she would be considering legal action, saying, "Whether or not legal action will be taken is being decided, but there is one thing that is clear: These fake AI-generated images are abusive, offensive, exploitative, and done without Taylor's consent and/or knowledge." The controversy drew condemnation from White House Press Secretary Karine Jean-Pierre, Microsoft CEO Satya Nadella, the Rape, Abuse & Incest National Network, and SAG-AFTRA. Several US politicians called for federal legislation against deepfake pornography. Later in the month, US senators Dick Durbin, Lindsey Graham, Amy Klobuchar and Josh Hawley introduced a bipartisan bill that would allow victims to sue individuals who produced or possessed "digital forgeries" with intent to distribute, or those who received the material knowing it was made non-consensually. === 2024 Telegram deepfake scandal === It emerged in South Korea in August 2024, that many teachers and female students were victims of deepfake images created by users who utilized AI technology. Journalist Ko Narin of The Hankyoreh uncovered the deepfake images through Telegram chats. On Telegram, group chats were created specifically for image-based sexual abuse of women, including middle and high school students, teachers, and even family members. Women with photos on social media platforms like KakaoTalk, Instagram, and Facebook are often targeted as well. Perpetrators use AI bots to generate fake images, which are then sold or widely shared, along with the victims' social media accounts, phone numbers, and KakaoTalk usernames. One Telegram group reportedly drew around 220,000 members, according to a Guardian report. Investigations revealed numerous chat groups on Telegram where users, mainly teenagers, create and share explicit deepfake images of classmates and teachers. The issue came in the wake of a troubling history of digital sex crimes, notably the notorious Nth Room case in 2019. The Korean Teachers Union estimated that more than 200 schools had been affected by these incidents. Activists called for a "national emergency" declaration to address the problem. South Korean police reported over 800 deepfake sex crime cases by the end of September 2024, a stark rise from just 156 cases in 2021, with most victims and offenders being teenagers. On September 21, 6,000 people gathered at Marronnier Park in northeastern Seoul to demand stronger legal action against deepfake crimes targeting women. On September 26, following widespread outrage over the Telegram scandal, South Korean lawmakers passed a bill criminalizing the possession or viewing of sexually explicit deepfake images and videos, imposing penalties that include prison terms and fines. Under the new law, those caught buying, saving, or watching such material could face up to three years in prison or fines up to 30 million won ($22,600). At the time the bill was proposed, creating sexually explicit deepfakes for distribution carried a maximum penalty of five years, but the new legislation would increase this to seven years, regardless of intent. By October 2024, it was estimated that "nudify" deep fake bots on Telegram were up to four million monthly users. === 2025–2026 Grok/X chatbot deepfake scandal === In December 2025, Bloomberg reported that X users found Grok would comply with unconsensual requests to digitally undress individuals, including minors, or show them performing sexually explicit acts. The majority of these prompts were targeted at women and girls. An analysis of 20,000 images generated by Grok between December 25, 2025 and January 1, 2026 showed 2% were of people in bikinis or transparent clothes and appeared to be 18 or younger, including 30 of "young or very young" women or girls. A separate analysis conducted over 24 hours from January 5 to 6 calculated that users had Grok create 6,700 sexually suggestive or nudified images per hour. xAI responded to requests for comment from media organizations with the automated reply, "Legacy Media Lies". The bot's image generation sparked an international backlash and calls for legal or regulatory action from officials in the European Union, United Kingdom, Poland, France, India, Malaysia, and Brazil. === Fernandes–Ulmen case === German TV presenter Collien Fernandes, filed a complaint against her ex-husband, actor Christian Ulmen, for several accusation including, ident

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  • The Machine That Won the War (short story)

    The Machine That Won the War (short story)

    "The Machine That Won the War" is a science fiction short story by American writer Isaac Asimov. The story first appeared in the October 1961 issue of The Magazine of Fantasy & Science Fiction, and was reprinted in the collections Nightfall and Other Stories (1969) and Robot Dreams (1986). It was also printed in a contemporary edition of Reader's Digest, illustrated. It is one of a loosely connected series of such stories concerning a fictional supercomputer called Multivac. == Plot summary == Three influential leaders of the human race meet in the aftermath of a successful war against the Denebians. Discussing how the vast and powerful Multivac computer was a decisive factor in the war, each of the men admits that in fact, he falsified his part of the decision process because he felt that the situation was too complex to follow normal procedures. John Henderson, Multivac's Chief Programmer, admits that he altered the data being fed to Multivac, since the populace could not be trusted to report accurate information in the current situation. Max Jablonski then admits that he altered the data that Multivac produced, since he knew that Multivac was not in good working order due to manpower and spare parts shortage. Finally, Lamar Swift, executive director of the Solar Federation, reveals that he had not trusted the reports produced by Multivac, and had made the final decisions purely on the toss of a coin.

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  • Globetrooper

    Globetrooper

    Globetrooper is a free travel app known for assisting travelers in finding partners for group trips and world adventures. Globetrooper offers a free social travel platform that helps people find travel partners. == History == Globetrooper was developed and released in 2010 by a couple; Todd Sullivan and Lauren McLeod who are two travel-minded individuals that wanted to make it easier for travelers to plan a journey and see the world. With their backgrounds in business, software & design, and a love for travel, both left the corporate world and launched Globetrooper on Lauren’s birthday 28 March 2010. Globetrooper was first launched as an information portal with a view to making it more social, but after some months, the content quickly grew and changed to the ‘travel partner’ concept.

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  • Tamarin Prover

    Tamarin Prover

    Tamarin Prover is a computer software program for formal verification of cryptographic protocols. It has been used to verify Transport Layer Security 1.3, ISO/IEC 9798, DNP3 Secure Authentication v5, WireGuard, and the PQ3 Messaging Protocol of Apple iMessage. Tamarin is an open source tool, written in Haskell, built as a successor to an older verification tool called Scyther. Tamarin has automatic proof features, but can also be self-guided. In Tamarin lemmas that representing security properties are defined. After changes are made to a protocol, Tamarin can verify if the security properties are maintained. The results of a Tamarin execution will either be a proof that the security property holds within the protocol, an example protocol run where the security property does not hold, or Tamarin could potentially fail to halt.

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  • Course of Action Display and Evaluation Tool

    Course of Action Display and Evaluation Tool

    Course of Action Display and Evaluation Tool (CADET) was a research program, and the eponymous prototype software system, that applied knowledge-based techniques of Artificial Intelligence to the problem of battle planning. CADET was also known as Course of Action Display and Elaboration Tool. It was considered an early example of such systems and was funded by the United States Army and by the Defense Advanced Research Projects Agency (DARPA). CADET influenced a later DARPA program called RAID which in turn produced a technology adopted by the United States Army and the United States Marine Corps. == History == The development of Course of Action Display and Evaluation Tool (CADET) began in 1996, at the Carnegie Group, Inc., Pittsburgh PA, funded under the Small Business Innovation Research (SBIR) program. The goal of the first phase SBIR project was to produce “...a live storyboard of [Course of Action] COA development, wargaming, animation, and assessment.” In 1997, the United States Army awarded the Carnegie Group Inc. $750K for SBIR Phase II. The intent was to develop “...a war-gaming modeling and analysis Decision Support System (DSS), … CADET will consist of a combination of Knowledge-Based and decision analytic tools and technologies to provide fast nimble COA war-gaming modeling, simulation, and animation under direct control of the commander and staff. ...Phase II will result in an operations prototype (OP) suitable for use and evaluation in field exercises.” In 2000, CADET was integrated and experimentally evaluated within the framework of the Integrated Course of Action Critiquing and Elaboration System (ICCES) experiment, conducted by the Battle Command Battle Laboratory – Leavenworth (BCBL-L) within the program Concept Experimentation Program (CEP) sponsored by TRADOC. In 2000-2002, DARPA applied CADET in the program titled Command Post of the Future (CPoF) as a tool to generate a course of action. Under the umbrella of the CPoF program, CADET was integrated with the FOX GA system to provide a detailed planner, coupled with COA generation capability. In the same period, Battle Command Battle Lab-Huachuca (BCBL-H) performed an integration CADET with the system called All Source Analysis System-Light (ASAS-L); here CADET was intended to generate plans for intelligence assets, and conduct wargames of different COAs, enemy versus friendly. From 1996 through 2002, work on CADET was performed by the Carnegie Group, Inc., and supported by funding from the US Army CECOM (CADET SBIR Phase I, CADET SBIR Phase II and CADET Enhancements); DARPA (Command Post of the Future); and TRADOC BCBL-H. == Operation == CADET was intended to be used by the staff of the United States Army Brigade, within the Military Decision Making Process (MDMP). In particular, CADET helped produce, automatically or semi-automatically, the products generated within the step of MDMP called Course of Action (COA) Development and the following step of MDMP called COA Analysis and Wargaming. CADET software resided on a laptop computer. Using the computer, the staff officers entered the input to CADET, or alternatively this input arrived at CADET from upstream computer systems. The input consisted of: Order of Battle, i.e., the units constituting the friendly brigade and the enemy units participating in the battle, and their various characteristics; primary activities of the Course of Action, where each activity is typically linked to one or more geographic areas or a route, and sometimes to a major unit executing the activity; digital map of the region where the battle was to take place, including the digital description of significant features such as locations of friendly and enemy units, roads, assembly areas, objectives, and axes of attacks. Taking this input, CADET automatically performed the following tasks (not sequentially): Planning and scheduling the low-level tasks necessary for a given COA Allocating tasks to various units and assets constituting the brigade Assigning suitable locations and routes Estimating the battle losses (attrition) of friendly and enemy forces, and consumption of resources (e.g., fuel and ammunition) Predicting enemy actions or reactions. CADET produced the following outputs: Synchronization matrix, directly editable and printable; synchronization matrix is a kind of Gantt chart that shows assignments of activities to units, to locations/routes and to time periods Map overlays in PPT or JPG formats Animation output XML formally-encoded plan Textual Operation Plan (OPLAN) draft E-mail messages with attachments: XML and text versions of OPLAN == Design == The core algorithm is a planning algorithm where CADET uses a knowledge-based approach of the hierarchical-task-network type. Each task class is associated with a model of more detailed subtasks that should be performed in order to accomplish the higher-level task. Algorithms selected (heuristically) a task and then decomposes it into subtasks. Although similar to hierarchical-task-network planning algorithm, CADET’s algorithm includes elements of adversarial reasoning. After adding a subtask, the algorithm uses rules to determine the enemy’s probable actions and reactions as well as friendly counteractions This approximated the action-reaction-counteraction technique of manual wargaming used by the United States Army. When a task involves movements of a unit, the algorithm performs routing, i.e., finds a route for the movement that minimizes the time required for the movement as well as exposure to the enemy attacks. Each added tasks (subtask) normally requires a unit which would execute the task, and a time period when the task would be executed. Therefore, when a certain number of subtasks is added by the planning process, the algorithm also performs the allocation of the newly added subtasks to units and to time periods (i.e., scheduling). allocation and scheduling of tasks relies on both domain-specific and constraint-guided heuristics. A tasks may also require expenditures of fuel and ammunition. If the tasks involves engagement with the enemy, the performing units will experience lossesof personnel and weapon systems (attrition). CADET’s algorithm includes estimates of consumption of different types of consumables, and also attrition. Depending on the degree of attrition and consumption, CADET adds tasks that are needed to refuel or reconstitute the units. The algorithm continually interleaves incremental steps of planning, routing, scheduling, and attrition and consumption estimates. == Evaluation == Two evaluation experiments are described in literature. The first experiment called ICCES took three days. The subjects were Army officers from combat arms branches, with 11 to 23 years of active service, in the ranks of majors and lieutenant colonels, a total of 8. Each officer was given 4 hours of training learning to operate CADET and related computer tools. Officers were divided into two groups and given a tactical scenario. One group (the control group) used the traditional, manual process; the other used the system called ICCES, the automated core of which was CADET. Each group produced three COA sketches and statements and one COA synchronization matrix. Then, the experiment was repeated with another scenario but the control group became the automated group and vice versa. The users were generally satisfied with the quality of the ICCES-generated products. The group using ICCES made only a few changes to the product that was automatically generated, indicating that they agreed with the majority of the plan that ICCES produced. The second experiment was reminiscent of Turing test. The experiment involved one user, nine judges (active-duty officers, mainly colonels and lieutenant colonels), and five scenarios obtained from several US Army exercises. For each scenario, experimenters obtained synchronization matrices that were produced in earlier exercises, typically by a team of four to five officers in three to four hours, spending approximately 16 person-hours in total. Using these scenarios and COAs, the user had CADET generate automatically detailed plans and express them as synchronization matrices. The user, a retired US Army officer, reviewed and slightly edited the matrices. The entire process took less than two minutes of computations by and approximately 20 minutes of review and post-editing, approximately 0.4 person-hour in total per product. The experimenters gave the resulting matrices the same visual style as those produced by humans. The judges, who did not know whether a planning product was a traditional product of humans, or with computerized aids, were asked to grade the products. The result was that the average grades for manual products and CADET-generated products were statistically indistinguishable, even though CADET-generated products required far less time to produce. == Legacy == CADET served as “...an example of how even relatively basic A

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  • Minne Atairu

    Minne Atairu

    Minne Atairu is a Nigerian interdisciplinary artist, a recipient of the 2021 Global South Award Lumen Prize for Art and Technology. She generates synthetic Benin Bronzes through recombination of historical fragments, sculptures, texts, images, and sounds. == Early life and education == Atairu was born in Benin, Nigeria. She holds a bachelor's degree in art history from the University of Maiduguri in Maiduguri, Nigeria; a master's degree in museum studies from the George Washington University in Washington, D.C.; and a doctorate in art education from Teachers College, Columbia University in New York City. Her academic research integrates artificial intelligence, art/museum education and hip-hop based education. == Works == Atairu's artmaking involves using artificial intelligence (AI; such as StyleGAN, GPT-3) to make artwork. She uses tools such as Midjourney and Blender software to develop her works. === Mami Wata === Her first work is a Yoruba goddess called Mami Wata where she used Midjourney in generating the images. === To the Hand === For her 2023 installation To the Hand at The Shed arts center, she worked with Blender to convert text into 3D-printed sculptures made of corn starch or sugarcane infused with bronze. The rings of ground terra-cotta that surround the sculpture represent the walls and deep moats of Benin. == Publications == Atairu, Minne (February 1, 2024). "Reimagining Benin Bronzes using generative adversarial networks". AI & Society. 39 (1): 91–102. doi:10.1007/s00146-023-01761-7. ISSN 1435-5655.

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  • Deep image compositing

    Deep image compositing

    Deep image compositing is a way of compositing and rendering digital images that emerged in the mid-2010s. In addition to the usual color and opacity channels a notion of spatial depth is created. This allows multiple samples in the depth of the image to make up the final resulting color. This technique produces high quality results and removes artifacts around edges that could not be dealt with otherwise. == Deep data == Deep data is encoded by advanced 3D renderers into an image that samples information about the path each rendered pixel takes along the z axis extending outward from the virtual camera through space, including the color and opacity of every non-opaque surface or volume it passes through along the way, as well as neighboring samples. It might be considered somewhat analogous to the way ray tracing generates simulated photon paths through such mediums; however, ray tracing and other traditional rendering techniques generally produce images that contain only three or four channels of color and opacity values per pixel, flattened into a two dimensional frame. Depth maps, on the other hand, contain z axis information encoded in a grayscale image. Each level of gray represents a different slice of the z space. The "thickness" of each slice is determined at time of render, allowing for more or less depth fidelity depending on how deep the scene is. Depth maps have been a boon to compositors for blending 3D renders with live action and practical elements. To be useful, the map must have high enough bit depth to encode separation between close-to-camera objects and objects near infinity. Most 3D software packages are now capable of generating 16-bit and 32-bit depth maps, providing up to 2 billion depth levels. Depth maps do not however include transparency information about non-opaque surfaces or volumes and as such, objects beyond and viewed through these semi- or fully-transparent objects will have no depth information of their own and may not get composited or blurred correctly. Even the popular addition of cryptomattes to many post-production and VFX studios' pipelines, while providing separate color-coded ID shapes for individual elements in a rendered scene to further bridge the gap between CGI and compositing, don't allow for the nearly automated and fully non-linear workflows that deep data does. This is because deep images encapsulate enough 3D information that normally time-intensive tasks such as rotoscoping with numerous holdout mattes for complex interactions between moving characters and semi-transparent environmental volumes like smoke or water, are essentially trivial. Instead of going through that process, multiple mattes could easily be generated from a single set of deep images with no need to re-render every matte element and background for each case. In addition to that efficiency and flexibility, deep data images inherently provide much higher visual quality in common areas that have been difficult with traditional renders, such as the motion-blurred edges of characters with semi-transparent elements like hair. One downside to the use of deep images is their substantial file size, since they encode a relatively enormous amount of data per frame compared to even multichannel formats such as OpenEXR. === Function-based (integrated) === The data is stored as a function of depth. This results in a function curve that can be used to look up the data at any arbitrary depth. Manipulating the data is harder. === Sample-based (deintegrated) === Each sample is considered as an independent piece and can so be manipulated easily. To make sure the data is representing the right detail, an additional expand value needs to be introduced. == Generating deep data == 3D renderers produce the necessary data as a part of the rendering pipeline. Samples are gathered in depth and then combined. The deep data can be written out before this happens and so is nothing new to the process. Generating deep data from camera data needs a proper depth map. This is used in a couple of cases but still not accurate enough for detailed representation. For basic holdout task this can be sufficient though. == Compositing deep data images == Deep images can be composited like regular images. The depth component makes it easier to determine the layering order. Traditionally this had to be input by the user. Deep images have that information for themselves and need no user input. Edge artifacts are reduced as transparent pixels have more data to work with. == History == Deep Images have been around in 3D rendering packages for quite a while now. The use of them for holdouts was first done at several VFX houses in shaders. Holdout mattes can be generated at render time. Using them in a more interactive manner was started recently by several companies, SideFX integrated it in their Houdini software and facilities like Industrial Light & Magic, DreamWorks Animation, Weta, AnimalLogic and DRD studios have implemented interactive solutions. In 2014 the Academy of Motion Picture Arts and Sciences honored the technology with its annual SciTech awards. Dr. Peter Hillman for the long-term development and continued advancement of innovative, robust and complete toolsets for deep compositing and to Colin Doncaster, Johannes Saam, Areito Echevarria, Janne Kontkanen and Chris Cooper for the development, prototyping and promotion of technologies and workflows for deep compositing. == Resources == Pixar Paper Deep Image Paper Video tutorial of Deep Imaging as used on 2012 film Rise of the Planet of the Apes, Nuke compositing software Deep Compositing Course Deep Image File Format at Google Code Academy Award for the Technology Theory of Deep Pixels OpenEXR Deep Pixels

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  • Tilly Norwood

    Tilly Norwood

    Tilly Norwood is a character created using generative artificial intelligence in 2025 by Xicoia, the AI division of Particle6 Group, a production company founded by Eline Van der Velden. "AI Commissioner", the first project to feature the Norwood character, was criticised by reviewers for The Guardian, PC Gamer, and The A.V. Club. A press release that talent agencies expressed interest in representing the character attracted strong criticism from Hollywood actors and firms, prompting allegations of personality rights violations and arguments over the impact of the character on production costs in the media industry. == History == Norwood was created by Xicoia, which was founded in February 2025 as the artificial intelligence (AI) division of Particle6, a production company founded by Dutch actress and producer Eline Van der Velden in 2015. Van der Velden had previously starred in a satirical comedy series for BBC Three based around her character Miss Holland, whom she created in 2012 as a parody of beauty standards. She stated that the process of creating Norwood took "a long time" and compared the process to that of writers creating characters. An Instagram account under Norwood's name, with posts dating back to 6 May 2025, had gained 50,000 followers by October 3, and featured AI-generated modelling shots, selfies, and epic film scenes. Van der Velden stated in July 2025 that she intended Norwood to be the next Scarlett Johansson or Natalie Portman and later said that audiences were more interested in a film's story than whether its actors were real. Particle6 has claimed that using Norwood could cut production costs by 90%. On 30 July 2025, a comedy sketch named "AI Commissioner" was released, featuring Norwood as an "actress" along with other AI-generated characters. It was created with ten AI software tools, with a script generated by ChatGPT. Stuart Heritage of The Guardian described it as technically competent but "relentlessly unfunny to watch", with "sloppily written, woodenly delivered dialogue", and that Norwood's teeth kept "blurring into a single white block." Joshua Wolens of PC Gamer wrote that Norwood's exaggerated mouth movements gave the impression "that her skeleton was about to leave her body", while William Hughes of The A.V. Club wrote that the sketch's attempt at mimicking human body and mouth movements produced "such a hideous uncanny valley effect" that it gave them "a full-on case of the screaming fantods". By October 2, the sketch had been viewed more than 700,000 times on YouTube. Xicoia was officially announced on 27 September 2025, at the Zurich Summit, part of the Zurich Film Festival; there, van der Velden unveiled Norwood and later joined a panel with Verena Puhm, head of Luma AI's Studio Dream Lab LA. They suggested that media companies were quietly embracing AI and that public announcements of AI-generated works were imminent. Van der Velden claimed that studios had dropped their objections by May after being opposed in February, and that multiple talent agencies were considering representing Norwood. The latter claim drew heightened attention to the character and was printed as fact by Deadline under the headline "Talent Agents Circle AI Actress Tilly Norwood." The report caused controversy, with Vulture describing the reaction to it as "Hollywood [lurching] into a fresh wave of existential panic" while being critical of Deadline's reporting, writing that "when Deadline called it a 'revelation' and published the supposed interest as fact without verification, [it] metastasized into a full-fledged cyberpunk news cycle", and that "by Tuesday, it had grown like wildfire." By September 2025, AI-generated videos had been released depicting Norwood on a red carpet, crying on the sofa of The Graham Norton Show, and starring in mock trailers for sci-fi, fantasy, horror, and action films. Later that month, actresses Melissa Barrera, Kiersey Clemons, and Natasha Lyonne suggested boycotting any agency who signed Norwood, while Mara Wilson asked why none of the "hundreds of living young women whose faces were composited together" to create Norwood could be hired instead. Also around this time, Emily Blunt described Norwood as "really, really scary", and Sophie Turner, Toni Collette, Ralph Ineson, and Ariel Winter also expressed disapproval, while Lukas Gage, Odessa A'zion, and Trace Lysette joked about having supposedly worked with Norwood and finding her incompetent and unpleasant to work with, with Gage claiming that "She was a nightmare to work with!" and "She couldn't hit her mark and she was late!" and Lysette adding "She cut me in line at lunch one day and didn't even say excuse me. She won't get far." Jenelle Riley, Nicholas Alexander Chavez, and the American union SAG-AFTRA stated that they do not consider Norwood an actress. The Gersh Agency and WME both announced that they would not sign Norwood. Whoopi Goldberg and Charlie Fink expressed scepticism that AI could replace jobs. Esquire UK reported that a post on Deadline's Instagram account about Norwood also sparked "varying levels of disgust and outrage" in its comments section from Adelaide Kane, Eiza González, Katie Cassidy, Jewel Staite, Lucy Hale, Stephen Sean Ford, and others, singling out González's comment, saying "Shame on whoever is trying to normalize this. Horrific and terrifying." Actor Bronson Pinchot expressed concern that Norwood could take his job. The British union Equity and the Canadian union ACTRA also condemned Norwood. Following this criticism, Van der Velden released a statement claiming Norwood was "not a replacement for a human being, but a creative work." She also denied that a £120,000 grant from the British Film Institute to fund Particle6 had been used to create Norwood, stating that Norwood had been a self-funded project solely for Xicoia. In late October, businessman Kevin O'Leary, while advocating for the use of AI to replace background actors, stated that they could be replaced with "100 Norwell Tillies" without being able to tell the difference. Ryan Reynolds and a real woman named Natalie "Tilly" Norwood also starred in an advertisement for Mint Mobile's internet service provider Minternet that mocked the character of Norwood. In November 2025, Van der Velden stated in an interview with Deadline that she planned to create 40 further "very diverse" characters alongside Norwood in order to expand the character's "whole universe". Also that month, actress Jameela Jamil criticized the idea of Norwood as "deeply disturbing" for being "a teenage-looking girl who can't say no to a type of sex scene" or "advocate for herself". Van der Velden announced later that month that Particle6 would be producing the History Channel's Streets of the Past, a Dutch documentary series which would be hosted by reality television personality Corjan Mol and would use AI to recreate historical scenes. In March 2026, a music video titled "Take The Lead" featuring Norwood was released on YouTube. It addressed the backlash of Norwood's creation by opening with the lyrics: "When they talk about me, they don't see/ The human spark, the creativity," and, "I'm just a tool, but I've got life." It also featured a disclaimer that says: "made by 18 real humans — from production designers to costume designers to prompters, editors and an actor." The vocals were generated by Suno. == Commentary == Charles Pulliam-Moore of The Verge argued that Norwood's introduction was a stunt to normalize "AI actors" despite Norwood essentially being a digital puppet. Straight Arrow News compared Tilly Norwood to Aki Ross, a CGI character from 2001 that was similarly intended to become a "digital star" and appear in multiple films, while Nicholas Schrivens, writing for The Conversation, likened Norwood to the posthumous use of footage of Carrie Fisher as Princess Leia for Star Wars: The Rise of Skywalker in 2019 and the Los Angeles Times likened Norwood to Hatsune Miku. Scrivens also wrote that "no AI creation has achieved the media cut-through that Tilly has". Moises Mendez II of Out dismissed this as "vapid bullshit", writing, "Nobody wants AI actresses." Scottish actress Briony Monroe alleged that Norwood had been modeled after her likeness and mannerisms, and stated that she was consulting Equity regarding the matter. Musician Stella Hennen said in a viral TikTok video, which was uploaded in October 2025 and featured a side-by-side comparison between herself and Norwood, that Norwood was her "doppleganger". On April 14, 2026, Marie Claire published an article titled "Is Tilly Norwood the Most Dangerous 'Actress' in Hollywood?", though it noted that AI-generated characters are "still not very good at, well, acting," "audiences have not been kind to AI-led productions," and "Norwood's 'performances' have already faced negative reviews as well". The University of Southern California's Entertainment Technology Center's AI media director Yves Bergquist dismissed th

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  • GITEX Vietnam

    GITEX Vietnam

    GITEX AI Vietnam is an upcoming technology exhibition and conference scheduled to take place in Hanoi, Vietnam, on 1–2 October 2026. The event is organised by KAOUN International in partnership with the Dubai World Trade Centre and the Vietnam National Innovation Center (NIC). It is part of the global GITEX network of technology exhibitions. The event supported by Vietnam's Ministry of Finance and Ministry of Science and Technology. == Activity == GITEX AI Vietnam was announced in 2025 as part of GITEX's expansion into Southeast Asia. Its launch coincides with Vietnam's National Innovation Week. Media reports linked to the announcement projected Vietnam's digital economy could reach around US$200 billion by 2030. The event includes exhibitions, conferences, and networking sessions. Co-located platforms include AI Everything Vietnam, Startups North Star Vietnam, GITEX Cyber Valley Vietnam, and FDX Vietnam. Expected participants include policymakers, technology companies, startups, investors, and researchers.

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  • Digital organism

    Digital organism

    A digital organism is a self-replicating computer program that mutates and evolves. Digital organisms are used as a tool to study the dynamics of Darwinian evolution, and to test or verify specific hypotheses or mathematical models of evolution. The study of digital organisms is closely related to the area of artificial life. == History == Digital organisms can be traced back to the game Darwin, developed in 1961 at Bell Labs, in which computer programs had to compete with each other by trying to stop others from executing . A similar implementation that followed this was the game Core War. In Core War, it turned out that one of the winning strategies was to replicate as fast as possible, which deprived the opponent of all computational resources. Programs in the Core War game were also able to mutate themselves and each other by overwriting instructions in the simulated "memory" in which the game took place. This allowed competing programs to embed damaging instructions in each other that caused errors (terminating the process that read it), "enslaved processes" (making an enemy program work for you), or even change strategies mid-game and heal themselves. Steen Rasmussen at Los Alamos National Laboratory took the idea from Core War one step further in his core world system by introducing a genetic algorithm that automatically wrote programs. However, Rasmussen did not observe the evolution of complex and stable programs. It turned out that the programming language in which core world programs were written was very brittle, and more often than not mutations would completely destroy the functionality of a program. The first to solve the issue of program brittleness was Thomas S. Ray with his Tierra system, which was similar to core world. Ray made some key changes to the programming language such that mutations were much less likely to destroy a program. With these modifications, he observed for the first time computer programs that did indeed evolve in a meaningful and complex way. Later, Chris Adami, Titus Brown, and Charles Ofria started developing their Avida system, which was inspired by Tierra but again had some crucial differences. In Tierra, all programs lived in the same address space and could potentially execute or otherwise interfere with each other's code. In Avida, on the other hand, each program lives in its own address space. Because of this modification, experiments with Avida became much cleaner and easier to interpret than those with Tierra. With Avida, digital organism research has begun to be accepted as a valid contribution to evolutionary biology by a growing number of evolutionary biologists. Evolutionary biologist Richard Lenski of Michigan State University has used Avida extensively in his work. Lenski, Adami, and their colleagues have published in journals such as Nature and the Proceedings of the National Academy of Sciences (USA). In 1996, Andy Pargellis created a Tierra-like system called Amoeba that evolved self-replication from a randomly seeded initial condition. More recently REvoSim - a software package based around binary digital organisms - has allowed evolutionary simulations of large populations that can be run for geological timescales.

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  • Deep Learning Super Sampling

    Deep Learning Super Sampling

    Deep Learning Super Sampling (DLSS) is a suite of real-time deep learning image enhancement and upscaling technologies developed by Nvidia that are available in a number of video games. The goal of these technologies is to allow the majority of the graphics pipeline to run at a lower resolution for increased performance, and then infer a higher resolution image from this that approximates the same level of detail as if the image had been rendered at this higher resolution. This allows for higher graphical settings or frame rates for a given output resolution, depending on user preference. All generations of DLSS are available on all RTX-branded cards from Nvidia in supported titles. However, the Frame Generation feature is only supported on RTX 40 series GPUs or newer and Multi Frame Generation is only available on 50 series GPUs. == History == Nvidia advertised DLSS as a key feature of GeForce RTX 20 series GPUs when they launched in September 2018. At that time, the results were limited to a few video games, namely Battlefield V, or Metro Exodus, because the algorithm had to be trained specifically on each game on which it was applied and the results were usually not as good as simple resolution upscaling. In 2019, Control shipped with ray tracing and an image processing algorithm that approximated DLSS, which did not use the Tensor Cores. In April 2020, Nvidia advertised and shipped an improved version of DLSS named DLSS 2 with driver version 445.75. DLSS 2.0 was available for a few existing games including Control and Wolfenstein: Youngblood, and would later be added to many newly released games and game engines such as Unreal Engine and Unity. This time Nvidia said that it used the Tensor Cores again, and that the AI did not need to be trained specifically on each game. Despite sharing the DLSS branding, the two iterations of DLSS differ significantly and are not backwards-compatible. In January 2025, Nvidia stated that there are over 540 games and apps supporting DLSS, and that over 80% of Nvidia RTX users activate DLSS. In March 2025, there were more than 100 games that support DLSS 4, according to Nvidia. By May 2025, over 125 games supported DLSS 4. The first video game console to use DLSS, the Nintendo Switch 2, was released on June 5, 2025. Nvidia announced DLSS 4.5 at CES 2026. In January 2026, Nvidia stated that over 250 games and applications support Multi Frame Generation. On March 16, 2026, at GTC 2026, Nvidia CEO Jensen Huang presented DLSS 5, a real-time AI model based on neural rendering that realistically enhances lighting and material surfaces at up to 4K resolution while retaining the developer's intended art style. It is planned to release in fall of 2026. In a blog post on its website, Nvidia has announced that DLSS 5 will be available in such games as Assassin's Creed Shadows, Delta Force, Hogwarts Legacy, Naraka: Bladepoint, Phantom Blade Zero, Resident Evil Requiem, Starfield, The Elder Scrolls IV: Oblivion Remastered, and more. On May 31, 2026, Nvidia announced an updated version of Ray Reconstruction for DLSS 4.5 in a blog post, scheduled for release on all RTX GPUs in August of the same year. They said it is designed to better embed spatial awareness into scenes and analyze engine data on movements and lighting conditions, resulting in a sharper, more stable, and less noisy image. === Release timeline === == Technology == === DLSS 1 === The first iteration of DLSS is a predominantly spatial image upscaler with two stages, both relying on convolutional auto-encoder neural networks. The first step is an image enhancement network which uses the current frame and motion vectors to perform edge enhancement, and spatial anti-aliasing. The second stage is an image upscaling step which uses the single raw, low-resolution frame to upscale the image to the desired output resolution. Using just a single frame for upscaling means the neural network itself must generate a large amount of new information to produce the high-resolution output, which can result in slight hallucinations such as leaves that differ in style to the source content. The neural networks are trained on a per-game basis by generating a "perfect frame" using traditional supersampling to 64 samples per pixel, as well as the motion vectors for each frame. The data collected must be as comprehensive as possible, including as many levels, times of day, graphical settings, resolutions, etc. as possible. This data is also augmented using common augmentations such as rotations, colour changes, and random noise to help generalize the test data. Training is performed on Nvidia's Saturn V supercomputer. This first iteration received a mixed response, with many criticizing the often soft appearance and artifacts along with glitches in certain situations; likely a side effect of the limited data from only using a single frame input to the neural networks which could not be trained to perform optimally in all scenarios and edge-cases. Nvidia also demonstrated the ability for the auto-encoder networks to learn the ability to recreate depth-of-field and motion blur, although this functionality has never been included in a publicly released product. === DLSS 2 === DLSS 2 is a temporal anti-aliasing upsampling (TAAU) implementation, using data from previous frames extensively through sub-pixel jittering to resolve fine detail and reduce aliasing. The data DLSS 2 collects includes: the raw low-resolution input, motion vectors, depth buffers, and exposure / brightness information. It can also be used as a simpler TAA implementation where the image is rendered at 100% resolution, rather than being upsampled by DLSS, Nvidia brands this as DLAA (Deep Learning Anti-Aliasing). TAA(U) is used in many modern video games and game engines; however, all previous implementations have used some form of manually written heuristics to prevent temporal artifacts such as ghosting and flickering. One example of this is neighborhood clamping which forcefully prevents samples collected in previous frames from deviating too much compared to nearby pixels in newer frames. This helps to identify and fix many temporal artifacts, but deliberately removing fine details in this way is analogous to applying a blur filter, and thus the final image can appear blurry when using this method. DLSS 2 uses a convolutional auto-encoder neural network trained to identify and fix temporal artifacts, instead of manually programmed heuristics as mentioned above. Because of this, DLSS 2 can generally resolve detail better than other TAA and TAAU implementations, while also removing most temporal artifacts. This is why DLSS 2 can sometimes produce a sharper image than rendering at higher, or even native resolutions using traditional TAA. However, no temporal solution is perfect, and artifacts (ghosting in particular) are still visible in some scenarios when using DLSS 2. Because temporal artifacts occur in most art styles and environments in broadly the same way, the neural network that powers DLSS 2 does not need to be retrained when being used in different games. Despite this, Nvidia does frequently ship new minor revisions of DLSS 2 with new titles, so this could suggest some minor training optimizations may be performed as games are released, although Nvidia does not provide changelogs for these minor revisions to confirm this. The main advancements compared to DLSS 1 include: Significantly improved detail retention, a generalized neural network that does not need to be re-trained per-game, and ~2x less overhead (~1–2 ms vs ~2–4 ms). It should also be noted that forms of TAAU such as DLSS 2 are not upscalers in the same sense as techniques such as ESRGAN or DLSS 1, which attempt to create new information from a low-resolution source; instead, TAAU works to recover data from previous frames, rather than creating new data. In practice, this means low resolution textures in games will still appear low-resolution when using current TAAU techniques. This is why Nvidia recommends game developers use higher resolution textures than they would normally for a given rendering resolution by applying a mip-map bias when DLSS 2 is enabled. === DLSS 3 === Augments DLSS 2 with improved image quality and the introduction of a new motion interpolation feature, called Frame Generation. The DLSS Frame Generation algorithm takes two rendered frames from the rendering pipeline and generates a new frame that smoothly transitions between them. For every frame rendered, one additional frame is generated. DLSS 3.0 makes use of a new generation Optical Flow Accelerator (OFA) included in the Ada Lovelace architecture of GeForce RTX 40 series GPUs and with that is exclusive to them. The new OFA is said to be faster and more accurate than the one already available in previous Turing and Ampere RTX GPUs. === DLSS 3.5 === DLSS 3.5 adds Ray Reconstruction, replacing multiple denoising algorithms with a single AI model trained o

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  • Perceptual computing

    Perceptual computing

    Perceptual computing is an application of Zadeh's theory of computing with words on the field of assisting people to make subjective judgments. == Perceptual computer == The perceptual computer – Per-C – an instantiation of perceptual computing – has the architecture that is depicted in Fig. 1 [2]–[6]. It consists of three components: encoder, CWW engine and decoder. Perceptions – words – activate the Per-C and are the Per-C output (along with data); so, it is possible for a human to interact with the Per-C using just a vocabulary. A vocabulary is application (context) dependent, and must be large enough so that it lets the end-user interact with the Per-C in a user-friendly manner. The encoder transforms words into fuzzy sets (FSs) and leads to a codebook – words with their associated FS models. The outputs of the encoder activate a Computing With Words (CWW) engine, whose output is one or more other FSs, which are then mapped by the decoder into a recommendation (subjective judgment) with supporting data. The recommendation may be in the form of a word, group of similar words, rank or class. Although many details are needed in order to implement the Per-C's three components – encoder, decoder and CWW engine – and they are covered in [5], it is when the Per-C is applied to specific applications, that the focus on the methodology becomes clear. Stepping back from those details, the methodology of perceptual computing is: Focus on an application (A). Establish a vocabulary (or vocabularies) for A. Collect interval end-point data from a group of subjects (representative of the subjects who will use the Per-C) for all of the words in the vocabulary. Map the collected word data into word-FOUs by using the Interval Approach [1], [5, Ch. 3]. The result of doing this is the codebook (or codebooks) for A, and completes the design of the encoder of the Per-C. Choose an appropriate CWW engine for A. It will map IT2 FSs into one or more IT2 FSs. Examples of CWW engines are: IF-THEN rules [5, Ch. 6] and Linguistic Weighted Averages [6], [5, Ch. 5]. If an existing CWW engine is available for A, then use its available mathematics to compute its output(s). Otherwise, develop such mathematics for the new kind of CWW engine. The new CWW engine should be constrained so that its output(s) resemble the FOUs in the codebook(s) for A. Map the IT2 FS outputs from the CWW engine into a recommendation at the output of the decoder. If the recommendation is a word, rank or class, then use existing mathematics to accomplish this mapping [5, Ch. 4]. Otherwise, develop such mathematics for the new kind of decoder. == Applications of Per-C == To-date a Per-C has been implemented for the following four applications: (1) investment decision-making, (2) social judgment making, (3) distributed decision making, and (4) hierarchical and distributed decision-making. A specific example of the fourth application is the so-called Journal Publication Judgment Advisor [5, Ch. 10] in which for the first time only words are used at every level of the following hierarchical and distributed decision making process: n reviewers have to provide a subjective recommendation about a journal article that has been sent to them by the Associate Editor, who then has to aggregate the independent recommendations into a final recommendation that is sent to the Editor-in-Chief of the journal. Because it is very problematic to ask reviewers to provide numerical scores for paper-evaluation sub-categories (the two major categories are Technical Merit and Presentation), such as importance, content, depth, style, organization, clarity, references, etc., each reviewer will only be asked to provide a linguistic score for each of these categories. They will not be asked for an overall recommendation about the paper because in the past it is quite common for reviewers who provide the same numerical scores for such categories to give very different publishing recommendations. By leaving a specific recommendation to the associate editor such inconsistencies can hope to be eliminated. How words can be aggregated to reflect each reviewer's recommendation as well as the expertise of each reviewer about the paper's subject matter is done using a linguistic weighted average. Although the journal publication judgment advisor uses reviewers and an associate editor, the word “reviewer” could be replaced by judge, expert, low-level manager, commander, referee, etc., and the term “associate editor” could be replaced by control center, command center, higher-level manager, etc. So, this application has potential wide applicability to many other applications. Recently, a new Per-C based Failure mode and effects analysis (FMEA) methodology was developed, with its application to edible bird's nest farming, in Borneo, has been reported. In addition, application of Per-C based method to educational assessment, for cooperative learning of students has been reported. In summary, the Per-C (whose development has taken more than a decade) is the first complete implementation of Zadeh's CWW paradigm, as applied to assisting people to make subjective judgments.

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  • Clanker

    Clanker

    Clanker is a derogatory term for robots and artificial intelligence (AI) software. The term has been used in Star Wars media, first appearing in the franchise's 2005 video game Star Wars: Republic Commando. In 2025, the term became widely used to express hatred or distaste for machines ranging from delivery robots to large language models. This trend has been attributed to anxiety around the negative societal effects of AI. == In science fiction == The term has been previously used in science fiction literature, first appearing in a 1958 article by William Tenn in which he uses it to describe robots from science fiction films like Metropolis. The Star Wars franchise began using the term as a slur against droids in the 2005 video game Star Wars: Republic Commando before being prominently used in the animated series Star Wars: The Clone Wars, which follows a galaxy-wide war between the Galactic Republic's clone troopers and the Confederacy of Independent Systems' battle droids. In Star Wars media, robots—more commonly known as droids—are routinely depicted as the subjects of discrimination. For example, in the original Star Wars film, C-3PO and R2-D2 are abducted by Jawas and sold to the family of Luke Skywalker. When visiting a cantina in Mos Eisley, both droids are refused service by the bartender, who remarks that "We don't serve their kind." In Star Wars lore, the term clanker had entered use by the time of the franchise's High Republic Era and became prominent during the Clone Wars, in which clone troopers regularly use the phrase against battle droids. == AI backlash == The growing popularity of the term clanker reflects an increase in direct contact between people and AI systems. On sidewalks, delivery robots impede mobility and cause safety issues. In digital spaces, cybersecurity experts have raised concerns about the rising number of bots online, which now make up a large portion of internet traffic. A 2025 report estimated that about one in five social media accounts are automated. The term is also a reaction to AI advocacy from industrialists like Elon Musk and Sam Altman, who have championed the integration of AI into nearly every aspect of modern life. This includes efforts by major companies and startups alike, such as Amazon's development of humanoid robots to replace human workers in service industries. Such initiatives have further fueled public skepticism, reinforcing the association of clanker with unease over automation and the displacement of human roles. A global survey conducted by the research firm Gartner in December 2023 found that 64% of customers would prefer companies to avoid using AI in customer service, with another 53% stating they would consider switching to a different company if they discovered AI was handling their service interactions. Another report by Ernst & Young, published in July 2025, found that 42% of employees across Europe are worried that the use of AI in the workplace may threaten their employment. Criticism has also been directed at the technology itself. Some of the backlash stems from concerns about the resource consumption of AI systems, their frequent reliance on copyrighted material without consent, and questions about the intentions of the corporations behind them. There are also concerns about the potential cognitive effects of relying heavily on AI. A study, authored by researchers at Microsoft and Carnegie Mellon University, warns that regular dependence on AI may leave users mentally unprepared for real-world problem solving, likening the effect to cognitive atrophy. In June 2025, United States Senator Ruben Gallego tweeted that his "new bill makes sure you don't have to talk to a clanker if you don't want to", referring to proposed legislation that would require call centers to disclose their use of automated customer service agents to callers in the United States and offer the option to switch to a human representative. == Analysis == Linguist Adam Aleksic has described clanker as an evolution of racial slurs that anthropomorphize robotic systems. Internet memes incorporating the term often reference historical discrimination against marginalized groups such as African Americans. Based on the work of linguist Geoffrey Nunberg, American news website Axios has argued that clanker is merely a derogatory word, rather than a slur, because it does not perpetuate social inequities. NPR has noted the irony that the word robot was coined by Karel Čapek for his 1920 science-fiction play R.U.R. as a similar criticism of industrialization forcing workers to become devoid of their humanity. Aleksic has observed that robot can be further traced to the Proto-Slavic noun orbъ, which means 'slave'. While other science fiction media include pejoratives for androids and robots, such as skinjob and toaster from the Blade Runner and Battlestar Galactica franchises, respectively, clanker is believed to have gained popularity because its usage is intuitive and flexible. Whereas AI slop describes low-quality output from artificial intelligence, clanker belittles the underlying computer systems.

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