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  Artificial Linguistic Internet Computer Entity

  A.L.I.C.E. (Artificial Linguistic Internet Computer Entity), also referred to as Alicebot, or simply Alice, is a natural language processing chatbot—a program that engages in a conversation with a human by applying some heuristical pattern matching rules to the human's input. It was inspired by Joseph Weizenbaum's classical ELIZA program. It is one of the strongest programs of its type and has won the Loebner Prize, awarded to accomplished humanoid, talking robots, three times (in 2000, 2001, and 2004). The program is unable to pass the Turing test, as even the casual user will often expose its mechanistic aspects in short conversations. Alice was originally composed by Richard Wallace; it "came to life" on November 23, 1995. The program was rewritten in Java beginning in 1998. The current incarnation of the Java implementation is Program D. The program uses an XML Schema called AIML (Artificial Intelligence Markup Language) for specifying the heuristic conversation rules. Alice code has been reported to be available as open source. The AIML source is available from ALICE A.I. Foundation on Google Code and from the GitHub account of Richard Wallace. These AIML files can be run using an AIML interpreter like Program O or Program AB. == In popular culture == Spike Jonze has cited ALICE as the inspiration for his academy award-winning film Her, in which a human falls in love with a chatbot. In a New Yorker article titled “Can Humans Fall in Love with Bots?” Jonze said “that the idea originated from a program he tried about a decade ago called the ALICE bot, which engages in friendly conversation.” The Los Angeles Times reported:Though the film’s premise evokes comparisons to Siri, Jonze said he actually had the idea well before the Apple digital assistant came along, after using a program called Alicebot about ten years ago. As geek nostalgists will recall, that intriguing if at times crude software (it flunked the industry-standard Turing Test) would attempt to engage users in everyday chatter based on a database of prior conversations. Jonze liked it, and decided to apply a film genre to it. “I thought about that idea, and what if you had a real relationship with it?” Jonze told reporters. “And I used that as a way to write a relationship movie and a love story.”

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  Constructive cooperative coevolution

  The constructive cooperative coevolutionary algorithm (also called C3) is a global optimisation algorithm in artificial intelligence based on the multi-start architecture of the greedy randomized adaptive search procedure (GRASP). It incorporates the existing cooperative coevolutionary algorithm (CC). The considered problem is decomposed into subproblems. These subproblems are optimised separately while exchanging information in order to solve the complete problem. An optimisation algorithm, usually but not necessarily an evolutionary algorithm, is embedded in C3 for optimising those subproblems. The nature of the embedded optimisation algorithm determines whether C3's behaviour is deterministic or stochastic. The C3 optimisation algorithm was originally designed for simulation-based optimisation but it can be used for global optimisation problems in general. Its strength over other optimisation algorithms, specifically cooperative coevolution, is that it is better able to handle non-separable optimisation problems. An improved version was proposed later, called the Improved Constructive Cooperative Coevolutionary Differential Evolution (C3iDE), which removes several limitations with the previous version. A novel element of C3iDE is the advanced initialisation of the subpopulations. C3iDE initially optimises the subpopulations in a partially co-adaptive fashion. During the initial optimisation of a subpopulation, only a subset of the other subcomponents is considered for the co-adaptation. This subset increases stepwise until all subcomponents are considered. This makes C3iDE very effective on large-scale global optimisation problems (up to 1000 dimensions) compared to cooperative coevolutionary algorithm (CC) and Differential evolution. The improved algorithm has then been adapted for multi-objective optimization. == Algorithm == As shown in the pseudo code below, an iteration of C3 exists of two phases. In Phase I, the constructive phase, a feasible solution for the entire problem is constructed in a stepwise manner. Considering a different subproblem in each step. After the final step, all subproblems are considered and a solution for the complete problem has been constructed. This constructed solution is then used as the initial solution in Phase II, the local improvement phase. The CC algorithm is employed to further optimise the constructed solution. A cycle of Phase II includes optimising the subproblems separately while keeping the parameters of the other subproblems fixed to a central blackboard solution. When this is done for each subproblem, the found solution are combined during a "collaboration" step, and the best one among the produced combinations becomes the blackboard solution for the next cycle. In the next cycle, the same is repeated. Phase II, and thereby the current iteration, are terminated when the search of the CC algorithm stagnates and no significantly better solutions are being found. Then, the next iteration is started. At the start of the next iteration, a new feasible solution is constructed, utilising solutions that were found during the Phase I of the previous iteration(s). This constructed solution is then used as the initial solution in Phase II in the same way as in the first iteration. This is repeated until one of the termination criteria for the optimisation is reached, e.g. a maximum number of evaluations. {Sphase1} ← ∅ while termination criteria not satisfied do if {Sphase1} = ∅ then {Sphase1} ← SubOpt(∅, 1) end if while pphase1 not completely constructed do pphase1 ← GetBest({Sphase1}) {Sphase1} ← SubOpt(pphase1, inext subproblem) end while pphase2 ← GetBest({Sphase1}) while not stagnate do {Sphase2} ← ∅ for each subproblem i do {Sphase2} ← SubOpt(pphase2,i) end for {Sphase2} ← Collab({Sphase2}) pphase2 ← GetBest({Sphase2}) end while end while == Multi-objective optimisation == The multi-objective version of the C3 algorithm is a Pareto-based algorithm which uses the same divide-and-conquer strategy as the single-objective C3 optimisation algorithm . The algorithm again starts with the advanced constructive initial optimisations of the subpopulations, considering an increasing subset of subproblems. The subset increases until the entire set of all subproblems is included. During these initial optimisations, the subpopulation of the latest included subproblem is evolved by a multi-objective evolutionary algorithm. For the fitness calculations of the members of the subpopulation, they are combined with a collaborator solution from each of the previously optimised subpopulations. Once all subproblems' subpopulations have been initially optimised, the multi-objective C3 optimisation algorithm continues to optimise each subproblem in a round-robin fashion, but now collaborator solutions from all other subproblems' subspopulations are combined with the member of the subpopulation that is being evaluated. The collaborator solution is selected randomly from the solutions that make up the Pareto-optimal front of the subpopulation. The fitness assignment to the collaborator solutions is done in an optimistic fashion (i.e. an "old" fitness value is replaced when the new one is better). == Applications == The constructive cooperative coevolution algorithm has been applied to different types of problems, e.g. a set of standard benchmark functions, optimisation of sheet metal press lines and interacting production stations. The C3 algorithm has been embedded with, amongst others, the differential evolution algorithm and the particle swarm optimiser for the subproblem optimisations.

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  Lymphater's Formula

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

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  The Last Question

  "The Last Question" is a science fiction short story by American writer Isaac Asimov. It first appeared in the November 1956 issue of Science Fiction Quarterly; and in the anthologies in the collections Nine Tomorrows (1959), The Best of Isaac Asimov (1973), Robot Dreams (1986), The Best Science Fiction of Isaac Asimov (1986), the retrospective Opus 100 (1969), and Isaac Asimov: The Complete Stories, Vol. 1 (1990). While he also considered it one of his best works, "The Last Question" was Asimov's favorite short story of his own authorship, and is one of a loosely connected series of stories concerning a fictional computer called Multivac. Through successive generations, humanity questions Multivac on the subject of entropy. The story blends science fiction, theology, and philosophy. It has been recognized as a counterpoint to Fredric Brown's short short story "Answer", published two years earlier. == History == In conceiving Multivac, Asimov was extrapolating the trend towards centralization that characterized computation technology planning in the 1950s to an ultimate centrally managed global computer. After seeing a planetarium adaptation of his work, Asimov "privately" concluded that the story was his best science fiction yet written. He placed it just higher than "The Ugly Little Boy" (September 1958) and "The Bicentennial Man" (1976). The story asks the question of humanity's fate, and human existence as a whole, highlighting Asimov's focus on important aspects of our future like population growth and environmental issues. "The Last Question" ranks with "Nightfall" (1941) as one of Asimov's best-known and most acclaimed short stories. He wrote in 1973 that he appreciated how easy the story was to write after he had the idea. He was so often approached by fans who remembered the story but not the title, that in one instance he gave the answer, correctly, before the fan had even described the story. == Plot summary == By the year 2061, Multivac, a self-adjusting and self-correcting computer, has allowed mankind to reach beyond the planetary confines of Earth and harness solar energy. Two technicians, Adell and Lupov, celebrate Multivac's role in this development. Over drinks, they discuss that the sun will expire due to the second law of thermodynamics, which states that entropy inevitably increases. When Adell asks Multivac whether this can be reversed, the computer responds that it has insufficient data to answer. In several episodes over ten trillion years, increasingly advanced humans pose the same question to the computers of their time. Each time the computer gives the same response. At the heat death of the universe, the last disembodied consciousness of Man asks the question a final time of a computer that resides in hyperspace before merging with it. After collecting the last data from the dead universe, the computer continues to process it alone and finds an answer to the last question. Having no one to tell it to, it proceeds to demonstrate by saying "LET THERE BE LIGHT!" == Themes == === Philosophy === Although science and religion are frequently presented as having an oppositional relationship, "The Last Question" explores some biblical contexts ("Let there be light"). In Asimov's story, aspects like the great meaning of existence are culminated through both technology and human knowledge. The evolution from Multivac to AC also emulates a sort of cycle of existence. === Dystopian happy ending === Multivac's purpose was conceptualized with a desire for knowledge, promoting the idea that more knowledge will lead to a better and more fruitful future for humanity. However, the computer's answers regarding the future suggest an inevitable exhaustion of the Sun, and this thirst for knowledge becomes an obsession with the future. The story's end displays a dichotomy between annihilation and peace. == Dramatic adaptations == === Planetarium shows === "The Last Question" was first adapted for the Abrams Planetarium at Michigan State University (in 1966), featuring the voice of Leonard Nimoy, as Asimov wrote in his autobiography In Joy Still Felt (1980). It was adapted for the Strasenburgh Planetarium in Rochester, New York (in 1969), under the direction of Ian C. McLennan. It was adapted for the Edmonton Space Sciences Centre in Edmonton, Alberta (early 1970s), under the direction of John Hault. It was adapted for the Gates Planetarium at the Denver Museum of Natural History in 1973 under the direction of Mark B. Peterson It subsequently played at the: Fels Planetarium of the Franklin Institute in Philadelphia in 1973 Planetarium of the Reading School District in Reading, Pennsylvania in 1974 Buhl Planetarium, Pittsburgh in 1974 The Space Transit Planetarium of the Museum of Science in Miami during 1977 Vanderbilt Planetarium in Centerport New York, in 1978, read by singer-songwriter and Long Island resident Harry Chapin. Hansen Planetarium in Salt Lake City, Utah (in 1980 and 1989) A reading of the story was played on BBC Radio 7 in 2008 and 2009. Gates Planetarium in Denver, Colorado (in early 2020) In 1989 Asimov updated the star show adaptation to add in quasars and black holes. The story was adapted as a comic book by Don Thompson and drawn by John Estes in the third issue of ORBiT.

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  Dispo

  Dispo (formerly David's Disposable) is an American photo sharing and social networking app owned by Dispo, Inc. and co-founded by CEO Daniel Liss, YouTuber David Dobrik, and Natalie Mariduena. When the app initially launched on iOS in December 2019, it briefly charted as the most downloaded free app on the App Store, ahead of both Disney+ and Instagram. The app was rebranded and relaunched as Dispo, expanding from a simple camera app to a full social network in March 2021. It is based on the disposable camera. == History == On December 21, 2019, the app was first launched on the App Store under the name "David's Disposable." In its first week of release, it was downloaded more than a million times, reaching number one among free apps in the App Store. In June 2020, the team decided to rename the app to Dispo, purchasing the Dispo.fun domain on June 21, 2020. The company announced the change in September 2020. The early Dispo team consisted of Dobrik's longtime friend and business associate Natalie Mariduena as its treasurer, entrepreneur and venture capitalist Daniel Liss as chief executive officer, Regynald Augustin as first engineer, and Briana Hokanson as lead designer. In October 2020, the company raised a $4M seed round with backing from Alexis Ohanian's venture fund Seven Seven Six alongside other investors including Unshackled Ventures, Shrug Capital, and Weekend Fund. In February 2021, Axios reported that the app had generated US$20 million in its series A round, led by Spark Capital. At this time, the app was valued at US$200 million. A New York Times profile asked, "Are Disposables the Future of Photosharing?" In March 2021, the app was officially relaunched with new social network features and its invite-only feature was dropped. On March 21, 2021, it was announced that Spark Capital would sever all ties with Dispo in light of several disparaging allegations against David Dobrik and The Vlog Squad. The same day, it was announced that Dobrik would leave the company and step down from the company's board of directors. On March 22, 2021, Seven Seven Six and Unshackled Ventures announced they would be standing by the company and its remaining employees but donating profits to charity. In June, 2021, CEO Daniel Liss announced Dispo's official Series A. Investors and advisors in the new Dispo include Ohanian's Seven Seven Six, Unshackled, Endeavor, photographers Annie Leibovitz and Raven B. Varona, NBA stars Kevin Durant and Andre Iguodala (through their 35 Ventures and F9 Strategies venture firms, respectively). Other participants include Cara Delevingne, Sofia Vergara, Shade Room CEO Angelica Nwandu, Latin World Entertainment CEO Luis Balaguer, and Amplify Africa co-founders Damilare Kujembola and Timi Adeyeba. == Overview == Dispo has been compared to other image sharing and social networking services, most notably Instagram and VSCO, although users cannot immediately see the photos they have taken using the app. When a user attempts to take a photo, the interface mimics the developing process of a disposable camera. Users can take as many photos on the app as they want; they do not appear on the app however, until 9 am the next day. Once the set of photos appear on the app, users can choose to save them or share them with other users in a "roll". == Reception == Screen Rant has called the app "like Clubhouse [referring to the app] but for photos," comparing the early invite-only features of the apps. As it greatly restricts the user's editing options and sets out to offer a more authentic social networking experience, the app has been widely dubbed the "anti-Instagram". Between March 2021 and June 2021, the app reached the top ten in the App Store's photo/video rankings on 5 continents including in the US, Japan, Spain, Germany, Brazil, and Australia. It has been a notable success in Japan, where it opened its first international office in July 2021. In July 2021, NBA number one draft pick Cade Cunningham announced he had selected Dispo as his exclusive social media partner for the NBA draft.

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  Someday (short story)

  "Someday" is a science fiction short story by American writer Isaac Asimov. It was first published in the August 1956 issue of Infinity Science Fiction and reprinted in the collections Earth Is Room Enough (1957), The Complete Robot (1982), Robot Visions (1990), and The Complete Stories, Volume 1 (1990). == Plot summary == The story is set in a future where computers play a central role in organizing society. Humans are employed as computer operators, but they leave most of the thinking to machines. Indeed, whilst binary programming is taught at school, reading and writing have become obsolete. The story concerns a pair of boys who dismantle and upgrade an old Bard, a child's computer whose sole function is to generate random fairy tales. The boys download a book about computers into the Bard's memory in an attempt to expand its vocabulary, but the Bard simply incorporates computers into its standard fairy tale repertoire. The story ends with the boys excitedly leaving the room after deciding to go to the library to learn "squiggles" (writing) as a means of passing secret messages to one another. As they leave, one of the boys accidentally kicks the Bard's on switch. The Bard begins reciting a new story about a poor mistreated and often ignored robot called the Bard, whose sole purpose is to tell stories, which ends with the words: "the little computer knew then that computers would always grow wiser and more powerful until someday—someday—someday—…"

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  HYPO CBR

  HYPO is a computer program, an expert system, that models reasoning with cases and hypotheticals in the legal domain. It is the first of its kind and the most sophisticated of the case-based legal reasoners, which was designed by Kevin Ashley for his Ph.D dissertation in 1987 at the University of Massachusetts Amherst under the supervision of Edwina Rissland. HYPO's design represents a hybrid generalization/comparative evaluation method appropriate for a domain with a weak analytical theory and applies to tasks that rarely involve just one right answer. The domain covers US trade secret law, and is substantially a common law domain. Since Anglo-American common law operates under the doctrine of precedent, the definitive way of interpreting problems is of necessity and case-based. Thus, HYPO did not involve the analysis of a statute, as required by the Prolog program. Rissland and Ashley (1987) envisioned HYPO as employing the key tasks performed by lawyers when analyzing case law for precedence to generate arguments for the prosecution or the defence. HYPO was a successful example of a general category of legal expert systems (LESs), it applies artificial intelligence (A.I.) techniques to the domain of legal reasoning in patent law, implementing a case-based reasoning (CBR) system, in contrast to rule based systems like MYCIN, or mixed-paradigm systems integrating CBR with rule-based or model-based reasoning like IKBALS II. A legal case-based reasoning essentially reasons from prior tried cases, comparing the contextual information in the current input case with that of cases previously tried and entered into the system. As noted by Ashley and Rissland (1988) CBR is used to "... capture expertise in domains where rules are ill-defined, incomplete or inconsistent". The HYPO project set out to model the creation of hypotheticals in law, where no case matches well enough. HYPO uses hypotheticals for a variety of tasks necessary for good interpretation: "to redefine old situations in terms of new dimensions, to create new standard cases when an appropriate one doesn’t exist, to explore and test the limits of a concept, to refocus a case by excluding some issues and to organize or cluster cases". Hypotheticals can include facts that support two conflicting lines of reasoning. So, it makes and responds to arguments from competing viewpoints about who should win the dispute. HYPO use heuristics such as making a case weaker or stronger, making a case extreme, enabling a near-miss, disabling a near-hit to generate hypotheticals in the context of an argument by using the dimensions mechanism. Dimensions have a range of values, along which the supportive strength that may shift from one side to the other. What differentiated this expert system from others was its facility not only to return a primary to best-case response but to return near-best-fit responses also. == Components == Legal knowledge in HYPO is contained in: the case-knowledge-base (CKB) and the library of dimensions. The CKB contains HYPO's base of known cases that are highly structured objects and sub-objects both real and hypothetical in the area of trade secret law. Each case is represented as a hierarchical set of frames whose slots are important facets of the case (e.g. Plaintiff, defendant, secret knowledge, employer/employee data).Ashley’s HYPO system used a database of thirty cases in the area indexed by thirteen dimensions. A key mechanism in HYPO is a dimension i.e. a mechanism to allow retrieval from the CKB, in order to represent legal cases. Ashley's dimensions are composed of (i) prerequisites, which are a set of factual predicates that must be satisfied for the dimension to apply (ii) focal slots, which accommodate one or two of the dimension's prerequisites designated as being indicative of the case's strength along that dimension and (iii) range information, which tells how a change in focal slot value effects the strength of a party's case along a given dimension. Dimensions focus attention on important aspects of cases. In HYPO's domain of misappropriation of trade secrets the dimension called “secrets voluntary disclosed” captures the idea that the more disclosures the plaintiff has made of his/her putative secret, the less convincing is his/her argument that the defendant is responsible for letting the secret. HYPO, like any other CBR system has also the following components: Similarity/relevancy metrics: that is, standards by which to evaluate the closeness of cases, judge their relevancy to the instant case, and select “most on point” cases. Half-Order Theory of the Application Domain: that is, hierarchies and taxonomies of knowledge, especially regarding the application domain. Precedent-based argumentation abilities: that is, capabilities to generate and evaluate precedent-based arguments. Knowledge to generate hypotheticals: that is, the ability to generate hypothetical cases to deal with various circumstances, like testing the validity of an interpretation or argument by providing gedanken experiments such as test cases or to fill in a weak CKB. == Functions == HYPO's method of creating an argument and justifying a solution or position has several steps. HYPO begins its processing with the current fact situation (cfs) which is direct input by the user into HYPO's representation framework. Once the user inputs the case, HYPO begins its legal analysis. The cfc is analyzed for relevant factors. Based on these factors HYPO selects the relevant cases and produces a case-analysis-record that records which dimensions apply to the cfc and which nearly apply (i.e. are "near misses"). The combined list of applicable and near miss dimensions is called the D-list. At this point the fact gathered module may request additional information from the user in order to draw a legal conclusion. Once all the facts are in the case-positioner module it uses the case-analysis record to create the claim lattice. This is a technique that organizes the relevant retrieved cases from the point of view of the cfc and makes it easy for HYPO to ascertain the most-on point cases (mopc) and to least on-point-cases. HYPO's arguments are 3ply, leading to the construction of the skeleton of an argument: it makes a point for one side, drawing the analogy between the problem and the precedent, responds with an argument for the opponent side, endeavoring to differentiate the cited case and citing other cases as counterarguments. Then it makes a final rebuttal, attempting to differentiate the counterarguments. The claim lattice also enables the HYPO-generator module to produce legally hypotheticals. With its use of dimension-based heuristics, the HYPO-generator does a heuristic search of the space of all possible cases. Lastly, the Explanation module expands upon the argument skeleton and provides explanation and justification for the different lines of analysis and cases found by HYPO. == An intelligent legal tutoring system == Legal expert systems are specifically designed to teach an area of law and are useful for pedagogical purposes. Ashley's work was mainly concerned to build tools to help students understand legal reasoning. Explanation and argument are the bases of the case method used in many professional schools in the U.S., first introduced by the Dean of the Harvard Law School, Christopher Columbus Langdell in 1870. The case method focuses on close readings of cases and principles; it involves students in pointed Socratic dialogue and makes strong use of hypotheticals (hypos). Thus, CATO (Aleven 1997) was a research project to device and test an intelligent, case-based tutorial program for teaching law students how to argue with cases implementing the HYPO program. Within the tutor system, Ashley and Aleven (1991) proposed to leverage an understanding of legal reasoning against the standard case-based tutoring methodology. What makes this tutoring system stand out is the additional levels of abstraction involved in its results. The system presents exercises, including the facts of a problem and a set of on-line cases and instructions to make, or respond to, a legal argument about the problem. The student/user will have a set of tools to analyze the problem and fashion an answer comparing it to other cases. Instead of simply generating precedent cases, the system works to interpret student responses, comparing them against a list of possibilities and responding to student entries, for example, by citing counterexamples, and providing feedback on a student's problem solving activities with explanations of correctness or giving further hints as to what may be wrong with evaluating a student's ability to perform legal reasoning and argument, examples and follow-up assignments by employing HYPO's model of case-based structure. == HYPO’s progeny == The quality of HYPO's results speak for themselves, in that a number of sequent legal reasoning systems are either directly based upon H

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  Knights of Sidonia

  Knights of Sidonia (Japanese: シドニアの騎士, Hepburn: Shidonia no Kishi) is a Japanese manga series written and illustrated by Tsutomu Nihei. It was serialized by Kodansha's seinen manga magazine Monthly Afternoon between April 2009 and September 2015, with its chapters collected in 15 tankōbon volumes. It tells the story of Nagate Tanikaze, an "under-dweller" destined to become a Garde pilot, whose mission is to defend the generation ship Sidonia from a hostile alien species called Gauna. The manga was licensed for English release in North America by Vertical. An anime television series adaptation was produced by Polygon Pictures. The first season aired from April to June 2014; the second between April and June 2015. An anime film sequel titled Knights of Sidonia: Love Woven in the Stars premiered in June 2021. In 2015, Knights of Sidonia received the 39th Kodansha Manga Award in the general category, as well as the 47th Seiun Award in the Best Comic category in 2016. == Plot == === Setting === The story is set in the year 3394, a thousand years after mankind flees from Earth after it was destroyed by a race of shapeshifting aliens called the Gauna (奇居子（ガウナ）), aboard hundreds of colossal spacecraft created from the remains of the planet. One such ship is the Sidonia, which has developed its own human culture closely based on that of Japan where human cloning, asexual reproduction, and human genetic engineering, such as granting humans photosynthesis, are commonplace. It is also revealed that the top echelons of this society have secretly been granted immortality. With a population of over 500,000 people, Sidonia is possibly the last human settlement remaining, as the fates of the other ships are unknown. Little is known about the true nature of the Gauna or their motivation for attacking humanity. At any given time, a Gauna consists of a nearly impenetrable core protected by a dense layer of malleable flesh known as "placenta" (胞衣, ena). Once the ena is shed away and the core is destroyed, the Gauna's body disintegrates. While Sidonia itself is heavily armed with an arsenal of high-output beam cannons and mass cannons including slow but powerful planet-destroying warheads, it is primarily defended by large mechanized weapons called Gardes (衛人, Morito) whose weaponry and mobility is powered by "Higgs particles" (ヘイグス粒子, Heigusu Ryūshi), armed with a high-output beam cannon for long range assaults and a special spear known as "Kabizashi" for close combat. The tip of the kabizashi is made of a rare and little-understood material which has the unique property of being able to destroy a Gauna's core. Later the Gardes are also equipped with firearms whose ammunition have the same material of the Kabizashi after a means to artificially mass-produce it is discovered. Most people in the surviving human population are screened and drafted as Garde pilots at a young age, if they are shown to be capable of piloting them. === Story === The story follows the adventures of Garde pilot Nagate Tanikaze, who lived in the underground layer of Sidonia since birth and was raised by his grandfather. Never having met anyone else, he trains himself in an old Guardian pilot simulator every day, eventually mastering it. After his grandfather's death, he emerges to the surface and is selected as a Garde pilot, just as Sidonia is once again threatened by the Gauna. == Media == === Manga === Written and illustrated by Tsutomu Nihei, Knights of Sidonia was serialized in Kodansha's seinen manga magazine Monthly Afternoon from April 25, 2009, to September 25, 2015. It was compiled in 15 tankōbon volumes. The manga has been licensed in North America by Vertical, who released all 15 volumes in English between February 5, 2013, and April 26, 2016. === Anime === An anime television series adaptation, produced by Polygon Pictures, aired its first season from April 10 to June 26, 2014, on MBS and later on TBS, CBC and BS-TBS. The series was directed by Kōbun Shizuno, assisted by Hiroyuki Seshita, with scripts by Sadayuki Murai and character designs by Yuki Moriyama. The opening theme song is "Sidonia" (シドニア, Shidonia), performed by Angela, while the ending theme song is "Show" (掌 -show-, Shō), performed by Eri Kitamura. A second season aired from April 11 to June 26, 2015. For the second season, the opening theme song is "Kishi Kōshinkyoku" (騎士行進曲, Knight March), performed by Angela, while the ending theme song is "Requiem" (鎮魂歌 -レクイエム-, Rekuiemu), performed by CustomiZ. The series was localized and streamed by Netflix in all of its territories since July 4, 2014, becoming the service's first original anime, as well as the first anime series on Netflix available in Dolby Vision/HDR. The first season has been licensed for home video release by Sentai Filmworks. The second season was released on Netflix on July 3, 2015, and has been licensed by Sentai Filmworks for home video distribution. In July 2021, Funimation announced they acquired the streaming rights from Netflix to both seasons. === Films === A compilation film of the first season with additional scenes and re-edited sound effects was released on March 6, 2015. A new anime film, titled Knights of Sidonia: Love Woven in the Stars, was announced on July 3, 2020. Hiroyuki Seshita served as chief director, while Tadahiro Yoshihira served as director for the new film, with Polygon Pictures returning for production. Sadayuki Murai and Tetsuya Yamada returned to write scripts, while Shūji Katayama composed the music. The rest of the staff and cast returned to reprise their roles. The first four minutes of the film were shown on YouTube on April 28, 2021. The film was set to premiere on May 14, 2021, but was delayed to June 4, 2021, due to the COVID-19 pandemic. Funimation screened the film in international theaters starting on September 13, 2021. == Reception == === Manga === Knights of Sidonia won the 39th Kodansha Manga Award in the general category in 2015. The manga won the 47th Seiun Award in the Best Comic category in 2016. It also won the Best Seinen category at the 26th Salón del Manga de Barcelona in 2020. It was one of the Jury Recommended works in the Manga Division at the 17th Japan Media Arts Festival in 2013. The Young Adult Library Services Association listed Knights of Sidonia in its 2014 list of Top 10 Graphic Novels for Teens. Carlo Santos from Anime News Network gave the first manga volume a B, stating, "It is got a young man piloting a giant robot against alien enemies, but Knight of Sidonia is no Neon Genesis Evangelion. Yet it is not as bleak or incomprehensible as Tsutomu Nihei works like Blame! or Biomega, either—rather, it is the best of both worlds, bringing Nihei's hard sci-fi mentality into a more conventional space-adventure environment". === Anime === The anime series received positive reviews, even from famous members of the Japanese anime/game industry, like Hideo Kojima, creator of the Metal Gear series, who claims that "It's a kind of anime that we haven't seen for a while that has that sci-fi spirit. Using digital technology cultivated through games, it creates animation that encapsulates Japan's cultural assets like manga, cel animation, kanji, giant robots, etc. What's born is a unique made-in-Japan work that could never be cooked up in Hollywood. Japanese culture has lost its 'cool', and Knights of Sidonia will be the white knight that saves it". Other industry pros left acknowledgements as well, including Akiko Higashimura, Digitarou and Yoshinao Dao.

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  Spatiotemporal reservoir resampling

  Spatiotemporal reservoir resampling, commonly known as ReSTIR (from "Reservoir-based SpatioTemporal Importance Resampling"), is a collection of computer graphics techniques for reusing samples during rendering. It was developed primarily to allow more realistic lighting in real-time rendering, because relatively few rays can be traced per pixel while maintaining an acceptable frame rate. It can also be used to speed up off-line path tracing. The first ReSTIR paper, published in 2020, provided algorithms for direct lighting, allowing scenes containing thousands of lights to be rendered in real time on a high-end GPU. Researchers later proposed versions for rendering indirect lighting (and more recently, motion blur and depth of field) and built up a framework of mathematical concepts and notation conventions that help analyze such algorithms. A major focus of this work is removing or reducing the bias that could be introduced when samples from other pixels or frames are reused—or selectively allowing some bias in order to speed up rendering and reduce variance (visible as "noise" in the image). Versions for path tracing apply transformations called shift mappings to samples, typically reusing parts of paths closer to the light and modifying the portion closer to the camera. ReSTIR-related papers and talks have been presented every year at the SIGGRAPH conference since 2020. One of the first games to incorporate ReSTIR into its rendering was Cyberpunk 2077. == Overview and motivation == According to Chris Wyman, one of the co-authors of the original paper, although developers commonly thought that bias was acceptable for real-time rendering, end users (e.g. gamers) are well-aware of the artifacts caused by bias and many have a negative opinion of common sample-reuse techniques such as temporal anti-aliasing (TAA), which may cause "ghosting" when the camera moves, and denoising, which causes blurring and other artifacts. ReSTIR techniques can reduce or avoid these types of bias by reusing samples of the set of possible paths taken by light to reach the camera, instead of reusing rendered pixel color values (which are typically the average of multiple samples, discarding information such as the direction of the light). While other techniques reuse samples in a generic post-processing step, ReSTIR passes can test for shadowing, and reused samples are converted into pixel color values by rendering code that takes the characteristics of different materials into account (e.g. by implementing BRDFs). However the output of ReSTIR is noisy, and a denoising pass is typically still used. Stochastic ray tracing techniques such as path tracing need to average multiple samples (produced by tracing individual rays) in order to render a visually acceptable image. When using a simple unbiased renderer based on Monte Carlo integration, halving the deviation of the result (apparent as "noise" in the image) requires multiplying the number of samples by four, meaning that a rapidly increasingly number of samples is needed to improve quality, Standard ways to mitigate this problem include importance sampling (which requires finding improved sampling distributions for specific situations), and quasi-Monte Carlo integration (which usually still requires tracing a large number of rays). ReSTIR offers a solution that multiplies the effective number of samples while tracing a fixed number of additional rays per frame. Temporal reuse multiplies the effective sample count by the number of frames rendered. Spatial reuse multiplies the effective count by the number of neighboring pixels examined. These two types of reuse can be combined, allowing spatial reuse to be applied recursively, which appears to offer an exponentially increasing effective sample count, however this is quickly limited by the size of the neighborhood used for spatial reuse. Spatial reuse is also potentially less effective near shadow and object edges, especially for objects with fine geometric detail, and temporal reuse is limited by movement of the camera and scene elements. == Variations == Many variations of ReSTIR have been proposed that generalize or improve the original technique (which builds on an earlier method called RIS), specialize it for particular types of illumination or other visual effects, or allow incorporation into rendering algorithms other than standard path tracing. Some published versions are listed below. == Algorithms == === Basic algorithm === ReSTIR uses a combination of resampled importance sampling (RIS) and weighted reservoir sampling (WRS) which the authors call streaming RIS. RIS processes samples from an initial probability distribution (e.g. a probability distribution for which a cheap sampling method exists) and generates samples in a new probability distribution (e.g. a sampling distribution that is optimal for rendering but is impractical to draw samples from directly). WRS allows this to be done while storing only a small number of samples in memory, which is especially helpful on a GPU. Information about the samples is stored in a data structure called a reservoir. WRS also allows samples from multiple reservoirs to be combined ("merged") into a single reservoir; this is crucial for sample reuse. Each pixel has a reservoir, typically containing only a single sample when ReSTIR is used for real-time rendering (some implementations use a larger number, e.g. four samples). The reservoir is typically initialized to a sample drawn using a simple method and is then updated by RIS steps and by reservoir merging, so that the pixel value produced by shading using the sample(s) currently in the reservoir, times the weight for the sample, is always an unbiased estimate of the correct pixel value. If appropriate resampling steps are used, the variance of this estimate (or some function of it, typically the luminance of the RGB color value) decreases with each step. A possible sequence of steps performed for each frame, suitable for computing unbiased direct illumination (DI) is: Perform reservoir resampling by drawing multiple light samples and using streaming RIS to choose one, using probabilities based on a target function, e.g. the luminance of the sample's contribution to the pixel. A weight is also computed for the sample. Typically, a single visibility check is performed here, after choosing a sample, setting the weight to 0 if the light is shadowed. Resampling (combined with the visibility check) ensures that the expected value of the weight times the sample brightness is the correct (unbiased) value for the pixel. (temporal reuse) For each pixel, merge the sample(s) from the previous frame into the current reservoir. Multiple importance sampling (MIS) weights are used to avoid bias due to the fact that the samples in the previous frame's reservoirs may have a different target probability distribution if the objects, lights, or camera have moved. (spatial reuse) For each pixel, choose one or more neighboring pixels and merge their samples into the current pixel's reservoir. Multiple importance sampling (MIS) weights are used to avoid bias due to the fact that the samples in each pixel's reservoir have a different target probability distribution. Because computing unbiased MIS weights requires tracing additional rays (along with other work such as evaluating BRDFs), real-time rendering often uses only a single neighboring pixel. Use the sample in each pixel's reservoir, along with its weight, to determine the color of the pixel for the current frame. Alternatively, multiple samples examined during the preceding steps may be averaged and used to shade the pixel instead (decoupled shading and sampling). For direct lighting, the initial samples used in step 1 are typically drawn by importance sampling from the set of lights in a scene. The algorithm above (from the original ReSTIR paper) draws many lower-quality light samples (e.g. 32) using a fast method, without considering visibility, and chooses one using streaming RIS. Visibility is then tested for the final chosen sample. Considering visibility for each sample drawn would require tracing 32 rays, which would make it much more expensive. The intent is to reduce the number of rays traced, relying on the sample reuse in steps 2 and 3 to make up for the loss of quality caused by rejecting many of the rays due to shadowing. A large part of the initial efforts to optimize ReSTIR (to make it run in real-time on available hardware) went into reducing the cost of randomly sampling the lights. Glossy surfaces may require a larger number of samples, and combining light sampling with BRDF sampling (using MIS) may increase quality. Step 2 (temporal reuse) is sometimes skipped for off-line rendering, and the output of multiple repetitions of initial sampling and spatial reuse is averaged instead; this helps avoids artifacts due to correlations. Step 3 (spatial reuse) may be repeated multiple times in a single frame.

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  Nature Manifesto

  Nature Manifesto is an Immersive sound piece and multimedia installation by Icelandic artist Björk and artist and curator Aleph Molinari, created in collaboration with the French Institute for Research and Coordination in Acoustics/Music (IRCAM). The installation was showcased at the Centre Pompidou in Paris, France from November 20, 2024 to December 9, 2024, as part of the museum's "Biodiversity: Which Culture for Which Future?" forum. It combines natural soundscapes, calls of extinct animals reconstructed through artificial intelligence, and Björk's narration to address damages to biodiversity and the collapse of ecosystems. == Background == Björk's work intricately weaves themes of nature and technology, reflecting her deep engagement with both realms. In 2008, she co-founded the Náttúra campaign to protest the construction of foreign-backed aluminum factories in Iceland, aiming to protect the country's natural landscapes. She released the single "Náttúra" featuring Thom Yorke, with all proceeds supporting this environmental initiative. Her 2011 album Biophilia further exemplifies this synthesis, exploring the relationships between music, nature, and technology through a multimedia project that included interactive apps, custom-made instruments, and educational workshops. Björk's Cornucopia tour (2019-2023) seamlessly integrates themes of nature preservation and environmental activism, and featured a recorded message by Swedish climate activist Greta Thunberg. The tour's fusion of music, technology, and natural imagery reflects Björk's vision of a harmonious coexistence between humanity and nature, advocating for sustainable futures. Björk has previously used artificial intelligence in her works. In 2020, she collaborated with Microsoft to create Kórsafn, a sound installation for the Sister City Hotel lobby in New York City which used an AI-powered model that elaborated choral recordings from her discography through a sensor on the rooftop of the building that would generate music according to data like the weather and the seasons. For her charity single "Oral", featuring Spanish singer Rosalía, she released a music video directed by photographer and visual artist Carlota Guerrero, who used AI-generated deepfake versions of the artists. == Concept == Nature Manifesto is a three-minute and forty-second immersive sound piece. The composition merges Björk's voice, as she articulates a manifesto on biodiversity and the climate crisis, with cries of extinct and endangered animals, harmonizing them with natural soundscapes. The installation was curated by Chloé Siganos and Aleph Molinari, with associate curator Delphine Le Gatt. The primary goal of Nature Manifesto is to foster a deeper understanding of humanity's impact on the natural world. Conceived as a "post-optimistic" manifesto, Aleph Molinari stated that the project's purpose was to "offer a voice to nature". He stated that "the modern concept of nature itself is problematic [...] because it’s a concept born in the Romantic period and, with the rise of the industrial era, became an antithesis to human civilisation and everything urban. Nature came to define what was outside, the savage Other... But nature is everything that we’re part of." The soundscape features recreated calls of extinct and endangered species, developed in collaboration with the French sound research institute IRCAM. Artificial intelligence was employed to simulate the vocalizations of animals that no longer exist in the wild. To save energy and lessen the ecological impact of the use of AI, the research institute developed a "frugal AI" model capable of generating audio in real-time on local servers without a graphics processing unit. The sounds were then produced and edited by Björk in collaboration with Robin Meier Wiratunga and Bergur Þórisson. The installation was located within the Centre Pompidou's escalator, known as the "caterpillar". The installation was further supported by videos created by visual artist Sam Balfus (also known as Balfua) by using artificial intelligence, and edited by Santiago Molinari. == Activism == To sustain and broaden the themes presented in Nature Manifesto, Björk publicly urged French President Emmanuel Macron to prohibit bottom trawling within France's marine protected areas (MPA). She criticized the French government's claim of protecting 30% of its marine territories, highlighting that over 90% of these MPAs exist only on paper, allowing destructive practices like bottom trawling to continue unchecked. She collaborated with non-governmental organizations Sustainable Ocean Alliance, Ungir umhverfissinnar and Bloom, to advocate for genuine ocean conservation. Björk promoted the cause through her social media profiles by sharing petitions. In November 2024, Björk lent her Instagram account to French environmental activists to directly address Macron. The activists used the platform to call for stronger protection of the ocean, urging Macron to impose stricter restrictions on harmful fishing practices, particularly bottom trawling. == Reception == Nature Manifesto received mixed to positive reviews from critics. Some critiques focused on the installation's setting, suggesting that the movement inherent to the escalator space diminished the immersive potential of the soundscape. The choice of using artificial intelligence was also questioned. Björk and Molinari defended this, as both see AI as a tool that can be used creatively and sustainably, with Björk focusing on the importance of human input to give AI a "soul", and Molinari stressing the need for sustainable technological practices in the broader context of digital life. After the exhibition ended, Björk further opinionated: "this is how we will work in the future. [...] if there is no soul in tomorrow's music made by AI it is because [no one] put it there and we have to speak out and guard this as listeners", further stating that there is already "soulless muzak" [sic] on Spotify, "mass manufactured without the attention of creativity".

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  A.I.s

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

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  ECML PKDD

  ECML PKDD, the European Conference on Machine Learning Principles and Practice of Knowledge Discovery in Databases, is one of the leading academic conferences on machine learning and knowledge discovery, held in Europe every year. == History == ECML PKDD is a merger of two European conferences, European Conference on Machine Learning (ECML) and European Conference on Principles and Practice of Knowledge Discovery in Databases (PKDD). ECML and PKDD have been co-located since 2001; however, both ECML and PKDD retained their own identity until 2007. For example, the 2007 conference was known as "the 18th European Conference on Machine Learning (ECML) and the 11th European Conference on Principles and Practice of Knowledge Discovery in Databases (PKDD)", or in brief, "ECML/PKDD 2007", and both ECML and PKDD had their own conference proceedings. In 2008 the conferences were merged into one conference, and the division into traditional ECML topics and traditional PKDD topics was removed. The history of ECML dates back to 1986, when the European Working Session on Learning was first held. In 1993 the name of the conference was changed to European Conference on Machine Learning. PKDD was first organised in 1997. Originally PKDD stood for the European Symposium on Principles of Data Mining and Knowledge Discovery from Databases. The name European Conference on Principles and Practice of Knowledge Discovery in Databases was used since 1999. The conference remains highly competitive, consistently maintaining an average acceptance rate of around 25% for the main research track. == Upcoming conferences == == List of past conferences ==

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  Linguatec

  The Linguatec Sprachtechnologien GmbH is a language technology provider, specialized in the field of machine translation, speech synthesis and speech recognition. Linguatec was founded in Munich in 1996 and its headquarters are in Pasing. Linguatec has won the European Information Society Technologies Prize three times. On their website, they are now using the online service Voice Reader Web, so that the information can be read out in every language by means of a text-to-speech function. == Core areas == Machine translation The different versions of Personal Translator (seven language pairs) can be used "for home use" or for professional business use in the company network. In addition to this, specialist dictionaries are offered to broaden standard vocabulary. Speech synthesis The Voice Reader text-to-speech program reads in twelve languages: German, British English, American English, French, Quebec French, Spanish, Mexican Spanish, Italian, Dutch, Portuguese, Czech, Chinese. Speech recognition Voice Pro is based on ViaVoice technology from IBM. There are special software programs for doctors and lawyers. == Patents == 2005 pending patent application for a newly developed hybrid technology that uses the intelligence of neural networks for machine translation. == Awards == 2004 European IT Prize for Beyond Babel 2004 test winner Stiftung Warentest – best voice recognition 1998 European IT Prize – applied voice recognition 1996 European IT Prize – automated translation == Studies == 2005 University of Regensburg: Voice Reader user test 2002 Fraunhofer Institute for Industrial Engineering and Organization IAO: user study on the efficiency of machine translation

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  AI Now Institute

  The AI Now Institute (AI Now) is an American research institute studying the social implications of artificial intelligence and policy research that addresses the concentration of power in the tech industry. AI Now has partnered with organizations such as the Distributed AI Research Institute (DAIR), Data & Society, Ada Lovelace Institute, New York University Tandon School of Engineering, New York University Center for Data Science, Partnership on AI, and the ACLU. AI Now has produced annual reports that examine the social implications of artificial intelligence. In 2021–22, AI Now's leadership served as a Senior Advisors on AI to Chair Lina Khan at the Federal Trade Commission. Its executive director is Amba Kak. == Founding and mission == AI Now grew out of a 2016 symposium organized by Obama's White House Office of Science and Technology Policy. The event was led by Meredith Whittaker, the founder of Google's Open Research Group, and Kate Crawford, a principal researcher at Microsoft Research. The event focused on near-term implications of AI in social domains: Inequality, Labor, Ethics, and Healthcare. In November 2017, AI Now held a second symposium on AI and social issues, and publicly launched the AI Now Institute in partnership with New York University. It is claimed to be the first university research institute focused on the social implications of AI, and the first AI institute founded and led by women. It is now a fully independent institute. In an interview with NPR, Crawford stated that the motivation for founding AI Now was that the application of AI into social domains - such as health care, education, and criminal justice - was being treated as a purely technical problem. The goal of AI Now's research is to treat these as social problems first, and bring in domain experts in areas like sociology, law, and history to study the implications of AI. == Research == AI Now publishes an annual report on the state of AI and its integration into society. Its 2017 report stated that "current framings of AI ethics are failing" and provided ten strategic recommendations for the field - including pre-release trials of AI systems, and increased research into bias and diversity in the field. The report was noted for calling for an end to "black box" systems in core social domains, such as those responsible for criminal justice, healthcare, welfare, and education. In April 2018, AI Now released a framework for algorithmic impact assessments, as a way for governments to assess the use of AI in public agencies. According to AI Now, an AIA would be similar to environmental impact assessment, in that it would require public disclosure and access for external experts to evaluate the effects of an AI system, and any unintended consequences. This would allow systems to be vetted for issues like biased outcomes or skewed training data, which researchers have already identified in algorithmic systems deployed across the country. Its 2023 Report argued that meaningful reform of the tech sector must focus on addressing concentrated power in the tech industry.

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  Digital fashion

  Digital fashion is a field of fashion design that relies on 3D software or artificial intelligence to produce hyper-realistic, data-intensive digital 3D garment simulations that are digital-only products or digital models for physical products. Digital garments can be worn and presented in virtual environments, social media, online gaming, virtual reality (VR), and augmented reality (AR) platforms. The field aims to contribute to the development of a more sustainable future for the fashion industry. It has been praised as a possible answer to ethical and creative concerns of traditional fashion by promoting innovation, reducing waste, and encouraging conscious consumption. However, empirical research has questioned whether digital fashion communities embody the radical and anti-consumerist values they claim. A 2025 study presented by YeSeung Lee at the FACTUM international conference on fashion communication analysed 88,141 posts across nine platforms over eight months using Pulsar. It found that only 4.8% of author biographies indicated any sociopolitical focus, and that discourse predominantly relied on generic slogans and trending buzzwords, primarily reinforcing existing fashion hierarchies and consumerist frameworks rather than challenging them. Digital fashion is also the interplay between digital technology and couture. Human AI is an intersection of technology and human representation, in which human value is emphasized and enhanced by technology and the possibilities of discovering design. Information and communication technologies (ICTs) have been deeply integrated both into the fashion industry, as well as within the experience of clients and prospects. Such interplay has happened at three main levels. ICTs are used to design and produce fashion products, while the industry organization also leverages digital technologies. ICTs impact marketing, distribution and sales. ICTs are extensively used in communication activities with all relevant stakeholders and contribute to co-create the fashion world. The fashion industry in general has paved the way for digital fashion to be introduced with more technology being in the industry, like virtual dressing rooms and the gamification of the fashion industry. Digital fashion is also seen on many different online fashion retail websites. This evolution in the fashion industry has called for more education and research of digital fashion. == Design, production, and organization == Among the many applications available to fashion designers to model the fusion of creativity with digital avenues, the Digital Textile Printing can be mentioned here. === Digital textile printing === Digital textile printing has brought together the worlds of fashion, technology, art, chemistry, and printing to produce a new process for printing textiles on clothing. Digital printing is a process in which prints are directly applied to fabrics with a printer, reducing 95% of the use of water, 75% of the use of energy and minimizing textile waste. The main advantage of digital printing is the ability to do very small runs of each design (even less than 1 yard). Digital Textile printing also offers other benefits, such as fast printing speeds that help the time and space needed to print different patterns on garments of choice. == Marketing, distribution, and sales == While all digital channels can be used in order to market and sell fashion completely online (eCommerce), they usually are implemented in connection with offline channels (so-called "omni-channel"). Here, virtual and augmented reality play a crucial role. The fashion industry has faced its own problems including pollution and fabric waste, which has resulted in a shift to more sustainable methods like digital fashion. The industry is also constantly being intertwined with digital media and has allowed for the use of digital tools within the business itself and with consumers. Two of the ways digital fashion is utilized with consumers is through virtual dressing rooms and virtual cosmetic counters. Prospects and clients can use ICTs - own computers, tablets and smartphones - to virtually simulate fitting rooms and cosmetics counters and see how they look in specific outfits and makeup. Customers can give any look and decide on what suits them and buy products. Oftentimes, beauty retailers will feature virtual fitting rooms to allow users to experience the look of their product before committing to a purchase. Some examples are color contact retailers Freshlook, which allows users to simulate contact lens wear in their color contacts studio before purchase. Colorful Eyes also offers a virtual color contact lens try-on room. === Virtual dressing room === A virtual dressing room (also often referred to as virtual fitting room and virtual changing room although they do perform different functions) is the online equivalent of the near-ubiquitous in-store changing room – that is, it enables shoppers to try on clothes to check one or more of size, fit or style, but virtually rather than physically. Fashion retailer Topshop installed a Kinect-powered virtual fitting room at its Moscow store. Created by AR Door, the Augmented Fitting Room system overlays 3D augmented reality clothes on the customer. Simple gestures and on-screen buttons let users "try on" different outfits. However, the high variability of virtual fit platforms to predict consumer clothes sizes called into question the accuracy of these systems in their current form. AI-powered Wardrobe and Outfit Planning Beyond virtual fitting rooms, the integration of artificial intelligence has enabled the rise of digital wardrobe management. These platforms use computer vision and machine learning to catalog a user’s physical or digital garments, providing automated outfit recommendations based on weather, occasion, and personal style trends. Fashion-tech startups utilize AI-driven garment simulation to help users plan outfits virtually, bridging the gap between digital-only fashion and physical wardrobe utility. This "smart closet" approach aims to reduce "wardrobe fatigue" and decrease unnecessary consumption by maximizing the use of existing items through digital visualization. === Communication and experience co-creation === Fashion is also a matter of socially negotiating what is "in" or "out", fashionable or not. In other words, fashion items do not only play on the economic market of physical goods but also - and sometimes even more importantly - on the semiotic market of the production of social tastes and customs. Thanks to social media, and to all services offered by the so-called web2.0, laypeople can contribute to co-create the fashion world, shaping tastes, customs, and fashion-related values. Social media, in general, has catapulted the impact fashion has on our everyday lives and values. Fashion has taken a central role in mass production and is constantly evolving due to the ever-lasting digital transformation. Social media has also helped evolve to a point where not only can brands reach consumers, but consumers can reach brands as well. TikTok for example started a trend in 2020 with #GucciModelChallenge. This creates a space where the brand is gaining awareness from their consumers in the ever-changing digital age. === Gamification === Gaming has played an important role in fostering digital aspects of the fashion world, first beginning with dress-up games that used avatars and allowed players to select garments. Nevertheless, it seems it will now move on to the real world and start using avatars of real people. Garments from luxurious brands have been copied and adapted into the aesthetics of games such as Animal Crossing: New Horizons and The Sims. As to the former, during COVID-19 lock-downs players recreated outfits from a variety of fashion brands, including Chanel, Gucci and Versace. It became a platform for users to showcase their costume designs. In April 2019, Moschino collaborated with simulation game The Sims in a capsule collection that featured signature Jeremy Scott garments. The collection was made available to shop and the campaign was set against the backdrop of a Sims-like atmosphere. Furthermore, in May 2019, Nike partnered up with Fortnite to include their iconic Jordan sneakers. In similar fashion, in May 2020, Marc Jacobs designed 6 of the brand's favorite looks for Nintendo's Animal Crossing: New Horizons in a partnership with Instagram user @AnimalCrossingFashionArchive. They were made available to download. Similarly, the other luxury brands mentioned, Louis Vuitton partnered with game League of Legends to create skins for characters within the game. Digital fashion in different video games allows users to express themselves beyond their avatars and combine the self-expression of fashion into the digital gaming realm. == Digital fashion education and research == Nowadays, the fashion industry needs experts in digital fashion, equipped with the above-ske

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