AI Chat Vumc

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

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  YrWall

  YrWall is a Digital Graffiti Wall developed by event company Luma, where designs are created on a large wall using a modified spray paint can. The can contains no paint, instead it has an IR light which is tracked by a computer vision system and the image immediately back-projected onto the wall. The inbuilt YrWall software has much of the functionality of a typical computer paint program, with a pop-out interface which enables users to change colour, spray width, opacity, work with stencils and use animated items such as swirls, stars, drips and splats. Recent additions to YrWall include options to email a JPEG of the completed design and create personalised stickers and T-shirts. == Dragons' Den == The inventor of YrWall, Tom Hogan, and his business partner, Tim Williams, appeared on Episode 4 of Series 8 of the BBC show Dragons' Den. Seeking investment in YrWall, the entrepreneurs were successful in gaining £50,000 for 40% of the YrWall parent company Lumacoustics from Dragons Deborah Meaden and Peter Jones. == World's Largest Interactive Graffiti Wall == In September 2009 YrWall was used to create the 'World's Largest Interactive Graffiti Wall' at the Bristol Festival, UK. Artists used the standard 3.5 m2 YrWall to produce artwork which was in turn projected live onto a 26m x 10m space on the side of the iconic Lloyds amphitheatre building.

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  Conference on Artificial General Intelligence

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

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  Legal Knowledge Interchange Format

  The Legal Knowledge Interchange Format (LKIF) was developed in the European ESTRELLA project and was designed with the goal of becoming a standard for representing and interchanging policy, legislation and cases, including their justificatory arguments, in the legal domain. LKIF builds on and uses the Web Ontology Language (OWL) for representing concepts and includes a reusable basic ontology of legal concepts. The core of LKIF consists of a combination of OWL-DL and SWRL. LKIF was designed with two main roles in mind: the translation of legal knowledge bases written in different representation formats and formalisms and to be a knowledge representation formalism which could be part of larger architectures for developing legal knowledge systems.

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  Model collapse

  Model collapse, also known by other names such as "AI inbreeding", "AI cannibalism", "Habsburg AI", and "model autophagy disorder" or "MAD" is a phenomenon noted in artificial intelligence studies, where machine learning models gradually degrade due to errors coming from uncurated synthetic data, or due to training on the outputs of another model such as prior versions of itself. It is unclear to what extent the phenomenon threatens the long-term development of such models, and some techniques have been proposed to mitigate the effect. == Characteristics == Shumailov et al. coined the term to describe two specific stages to the degradation of machine learning models: early model collapse and late model collapse: In early model collapse, the model begins losing information about the tails of the distribution – mostly affecting minority data. Later work highlighted that early model collapse is hard to notice, since overall performance may appear to improve, while the model loses performance on minority data. In late model collapse, the model loses a significant proportion of its performance, confusing concepts and losing most of its variance. == Mechanism == Using synthetic data as training data can lead to issues with the quality and reliability of the trained model. Model collapse occurs for three main reasons: functional approximation errors sampling errors learning errors Importantly, it happens in even the simplest of models, where not all of the error sources are present. In more complex models the errors often compound, leading to faster collapse. == Disagreement over real-world impact == Some researchers and commentators on model collapse warn that the phenomenon could fundamentally threaten future generative AI development: As AI-generated data is shared on the Internet, it will inevitably end up in future training datasets, which are often crawled from the Internet. If training on "slop" (large quantities of unlabeled synthetic data) inevitably leads to model collapse, this could therefore pose a difficult problem. However, recently, other researchers have disagreed with this argument, showing that if synthetic data accumulates alongside human-generated data, model collapse is avoided. The researchers argue that data accumulating over time is a more realistic description of reality than deleting all existing data every year, and that the real-world impact of model collapse may not be as catastrophic as feared. An alternative branch of the literature investigates the use of machine learning detectors and watermarking to identify model generated data and filter it out. == Mathematical models of the phenomenon == === 1D Gaussian model === In 2024, a first attempt has been made at illustrating collapse for the simplest possible model — a single dimensional normal distribution fit using unbiased estimators of mean and variance, computed on samples from the previous generation. To make this more precise, we say that original data follows a normal distribution X 0 ∼ N ( μ , σ 2 ) {\displaystyle X^{0}\sim {\mathcal {N}}(\mu ,\sigma ^{2})} , and we possess M 0 {\displaystyle M_{0}} samples X j 0 {\displaystyle X_{j}^{0}} for j ∈ { 1 , … , M 0 } {\displaystyle j\in {\{\,1,\dots ,M_{0}\,{}\}}} . Denoting a general sample X j i {\displaystyle X_{j}^{i}} as sample j ∈ { 1 , … , M i } {\displaystyle j\in {\{\,1,\dots ,M_{i}\,{}\}}} at generation i {\displaystyle i} , then the next generation model is estimated using the sample mean and variance: μ i + 1 = 1 M i ∑ j X j i ; σ i + 1 2 = 1 M i − 1 ∑ j ( X j i − μ i + 1 ) 2 . {\displaystyle \mu _{i+1}={\frac {1}{M_{i}}}\sum _{j}X_{j}^{i};\quad \sigma _{i+1}^{2}={\frac {1}{M_{i}-1}}\sum _{j}(X_{j}^{i}-\mu _{i+1})^{2}.} Leading to a conditionally normal next generation model X j i + 1 | μ i + 1 , σ i + 1 ∼ N ( μ i + 1 , σ i + 1 2 ) {\displaystyle X_{j}^{i+1}|\mu _{i+1},\;\sigma _{i+1}\sim {\mathcal {N}}(\mu _{i+1},\sigma _{i+1}^{2})} . In theory, this is enough to calculate the full distribution of X j i {\displaystyle X_{j}^{i}} . However, even after the first generation, the full distribution is no longer normal: It follows a variance-gamma distribution. To continue the analysis, instead of writing the probability density function at each generation, it is possible to explicitly construct them in terms of independent random variables using Cochran's theorem. To be precise, μ 1 {\displaystyle \mu _{1}} and σ 1 {\displaystyle \sigma _{1}} are independent, with μ 1 ∼ N ( μ , σ 2 M 0 ) {\displaystyle \mu _{1}\sim {\mathcal {N}}\left(\mu ,{\frac {\sigma ^{2}}{M_{0}}}\right)} and ( M 0 − 1 ) σ 1 2 ∼ σ 2 Γ ( M 0 − 1 2 , 1 2 ) {\displaystyle (M_{0}-1)\,\sigma _{1}^{2}\sim \sigma ^{2}\,\Gamma \left({\frac {M_{0}-1}{2}},{\frac {1}{2}}\right)} , following a Gamma distribution. Denoting with Z {\displaystyle Z} Gaussian random variables distributed according to N ( 0 , 1 ) {\displaystyle {\mathcal {N}}(0,1)} and with S i {\displaystyle S^{i}} random variables distributed with 1 M i − 1 − 1 Γ ( M i − 1 − 1 2 , 1 2 ) {\displaystyle {\frac {1}{M_{i-1}-1}}\Gamma \left({\frac {M_{i-1}-1}{2}},{\frac {1}{2}}\right)} , it turns out to be possible to write samples at each generation as X j 0 = μ + σ Z j 0 , {\textstyle X_{j}^{0}=\mu +\sigma Z_{j}^{0},} X j 1 = μ + σ M 0 Z 1 + σ S 1 Z j 1 , {\textstyle X_{j}^{1}=\mu +{\frac {\sigma }{\sqrt {M_{0}}}}Z^{1}+\sigma {\sqrt {S^{1}}}Z_{j}^{1},} and more generally X j n = μ + σ M 0 Z 1 + σ M 1 S 1 Z 2 + ⋯ + σ M n − 1 S 1 × ⋯ × S n − 1 Z n + σ S 1 × ⋯ × S n Z j n . {\displaystyle X_{j}^{n}=\mu +{\frac {\sigma }{\sqrt {M_{0}}}}Z^{1}+{\frac {\sigma }{\sqrt {M_{1}}}}{\sqrt {S^{1}}}Z^{2}+\dots +{\frac {\sigma }{\sqrt {M_{n-1}}}}{\sqrt {S^{1}\times \dots \times S^{n-1}}}Z^{n}+\sigma {\sqrt {S^{1}\times \dots \times S^{n}}}Z_{j}^{n}.} Note, that these are not joint distributions, as Z n {\displaystyle Z^{n}} and S n {\displaystyle S^{n}} depend directly on Z j n − 1 {\displaystyle Z_{j}^{n-1}} , but when considering X j n {\displaystyle X_{j}^{n}} on its own the formula above provides all the information about the full distribution. To analyse the model collapse, we can first calculate variance and mean of samples at generation n {\displaystyle n} . This would tell us what kind of distributions we expect to arrive at after n {\displaystyle n} generations. It is possible to find its exact value in closed form, but the mean and variance of the square root of gamma distribution are expressed in terms of gamma functions, making the result quite clunky. Following, it is possible to expand all results to second order in each of 1 / M i {\displaystyle 1/M_{i}} , assuming each sample size to be large. It is then possible to show that 1 σ 2 Var ⁡ ( X j n ) = 1 M 0 + 1 M 1 + ⋯ + 1 M n − 1 + 1 + O ( M i − 2 ) . {\displaystyle {\frac {1}{\sigma ^{2}}}\operatorname {Var} (X_{j}^{n})={\frac {1}{M_{0}}}+{\frac {1}{M_{1}}}+\dots +{\frac {1}{M_{n-1}}}+1+{\mathcal {O}}\left(M_{i}^{-2}\right).} And if all sample sizes M i = M {\displaystyle M_{i}=M} are constant, this diverges linearly as n → ∞ {\displaystyle n\to \infty } : Var ⁡ ( X j n ) = σ 2 ( 1 + n M ) ; E ( X j n ) = μ . {\displaystyle \operatorname {Var} (X_{j}^{n})=\sigma ^{2}\left(1+{\frac {n}{M}}\right);\quad \mathbb {E} (X_{j}^{n})=\mu .} This is the same scaling as for a single dimensional Gaussian random walk. However, divergence of the variance of X j n {\displaystyle X_{j}^{n}} does not directly provide any information about the corresponding estimates of μ n + 1 {\displaystyle \mu _{n+1}} and σ n + 1 {\displaystyle \sigma _{n+1}} , particularly how different they are from the original μ {\displaystyle \mu } and σ {\displaystyle \sigma } . It turns out to be possible to calculate the distance between the true distribution and the approximated distribution at step n + 1 {\displaystyle n+1} , using the Wasserstein-2 distance (which is also sometimes referred to as risk): E [ W 2 2 ( N ( μ , σ 2 ) , N ( μ n + 1 , σ n + 1 2 ) ) ] = 3 2 σ 2 ( 1 M 0 + 1 M 1 + ⋯ + 1 M n ) + O ( M i − 2 ) , {\displaystyle \mathbb {E} \left[\mathbb {W} _{2}^{2}\left({\mathcal {N}}(\mu ,\sigma ^{2}),{\mathcal {N}}(\mu _{n+1},\sigma _{n+1}^{2})\right)\right]={\frac {3}{2}}\sigma ^{2}\left({\frac {1}{M_{0}}}+{\frac {1}{M_{1}}}+\dots +{\frac {1}{M_{n}}}\right)+{\mathcal {O}}\left(M_{i}^{-2}\right),} Var ⁡ [ W 2 2 ( N ( μ , σ 2 ) , N ( μ n + 1 , σ n + 1 2 ) ) ] = 1 2 σ 4 ( 3 M 0 2 + 3 M 1 2 + ⋯ + 3 M n 2 + ∑ i ≠ j 4 M i M j ) + O ( M i − 3 ) . {\displaystyle \operatorname {Var} \left[\mathbb {W} _{2}^{2}\left({\mathcal {N}}(\mu ,\sigma ^{2}),{\mathcal {N}}(\mu _{n+1},\sigma _{n+1}^{2})\right)\right]={\frac {1}{2}}\sigma ^{4}\left({\frac {3}{M_{0}^{2}}}+{\frac {3}{M_{1}^{2}}}+\dots +{\frac {3}{M_{n}^{2}}}+\sum _{i\neq j}{\frac {4}{M_{i}M_{j}}}\right)+{\mathcal {O}}\left(M_{i}^{-3}\right).} This directly shows why model collapse occurs in this simple model. Due to errors from re-sampling the approximated distribution, each generation ends up corresponding to a

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  Hybrid machine translation

  Hybrid machine translation is a method of machine translation that is characterized by the use of multiple machine translation approaches within a single machine translation system. The motivation for developing hybrid machine translation systems stems from the failure of any single technique to achieve a satisfactory level of accuracy. Many hybrid machine translation systems have been successful in improving the accuracy of the translations, and there are several popular machine translation systems which employ hybrid methods. == Approaches == === Multi-engine === This approach to hybrid machine translation involves running multiple machine translation systems in parallel. The final output is generated by combining the output of all the sub-systems. Most commonly, these systems use statistical and rule-based translation subsystems, but other combinations have been explored. For example, researchers at Carnegie Mellon University have had some success combining example-based, transfer-based, knowledge-based and statistical translation sub-systems into one machine translation system. === Statistical rule generation === This approach involves using statistical data to generate lexical and syntactic rules. The input is then processed with these rules as if it were a rule-based translator. This approach attempts to avoid the difficult and time-consuming task of creating a set of comprehensive, fine-grained linguistic rules by extracting those rules from the training corpus. This approach still suffers from many problems of normal statistical machine translation, namely that the accuracy of the translation will depend heavily on the similarity of the input text to the text of the training corpus. As a result, this technique has had the most success in domain-specific applications, and has the same difficulties with domain adaptation as many statistical machine translation systems. === Multi-Pass === This approach involves serially processing the input multiple times. The most common technique used in multi-pass machine translation systems is to pre-process the input with a rule-based machine translation system. The output of the rule-based pre-processor is passed to a statistical machine translation system, which produces the final output. This technique is used to limit the amount of information a statistical system need consider, significantly reducing the processing power required. It also removes the need for the rule-based system to be a complete translation system for the language, significantly reducing the amount of human effort and labor necessary to build the system. === Confidence-Based === This approach differs from the other hybrid approaches in that in most cases only one translation technology is used. A confidence metric is produced for each translated sentence from which a decision can be made whether to try a secondary translation technology or to proceed with the initial translation output. SMT is also used when common error patterns such as multiple repeat words appear in sequence, as is common with NMT when the attention mechanism is confused.

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  CADE ATP System Competition

  The CADE ATP System Competition (CASC) is an annual competition of fully automated theorem provers for classical logic. == Competition == CASC is associated with the Conference on Automated Deduction and the International Joint Conference on Automated Reasoning organized by the Association for Automated Reasoning. It has inspired similar competition in related fields, in particular the successful SMT-COMP competition for satisfiability modulo theories, the SAT Competition for propositional reasoners, and the modal logic reasoning competition. The first CASC, CASC-13, was held as part of the 13th Conference on Automated Deduction at Rutgers University, New Brunswick, NJ, in 1996. Among the systems competing were Otter and SETHEO.

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  AI-assisted targeting in the Gaza Strip

  As part of the Gaza war, the Israel Defense Forces (IDF) have used artificial intelligence to rapidly and automatically perform much of the process of determining what to bomb. Israel has greatly expanded the bombing of the Gaza Strip, which in previous wars had been limited by the Israeli Air Force running out of targets. These tools include the Gospel, an AI which automatically reviews surveillance data looking for buildings, equipment and people thought to belong to the enemy, and upon finding them, recommends bombing targets to a human analyst who may then decide whether to pass it along to the field. Another is Lavender, an "AI-powered database" which lists tens of thousands of Palestinian men linked by AI to Hamas or Palestinian Islamic Jihad, and which is also used for target recommendation. Critics have argued the use of these AI tools puts civilians at risk, blurs accountability, and results in militarily disproportionate violence in violation of international humanitarian law. == The Gospel == Israel uses an AI system dubbed "Habsora", "the Gospel", to determine which targets the Israeli Air Force would bomb. It automatically provides a targeting recommendation to a human analyst, who decides whether to pass it along to soldiers in the field. The recommendations can be anything from individual fighters, rocket launchers, Hamas command posts, to private homes of suspected Hamas or Islamic Jihad members. AI can process military intelligence far faster than humans. Retired Lt Gen. Aviv Kohavi, head of the IDF until 2023, stated that the system could produce 100 bombing targets in Gaza a day, with real-time recommendations which ones to attack, where human analysts might produce 50 a year. A lecturer interviewed by NPR estimated these figures as 50–100 targets in 300 days for 20 intelligence officers, and 200 targets within 10–12 days for the Gospel. === Technological background === The Gospel uses machine learning, where an AI is tasked with identifying commonalities in vast amounts of data (e.g. scans of cancerous tissue, photos of a facial expression, surveillance of Hamas members identified by human analysts), then looking for those commonalities in new material. What information the Gospel uses is not known, but it is thought to combine surveillance data from diverse sources in enormous amounts. Recommendations are based on pattern-matching. A person with enough similarities to other people labeled as enemy combatants may be labelled a combatant themselves. Regarding the suitability of AIs for the task, NPR cited Heidy Khlaaf, engineering director of AI Assurance at the technology security firm Trail of Bits, as saying "AI algorithms are notoriously flawed with high error rates observed across applications that require precision, accuracy, and safety." Bianca Baggiarini, lecturer at the Australian National University's Strategic and Defence Studies Centre wrote AIs are "more effective in predictable environments where concepts are objective, reasonably stable, and internally consistent." She contrasted this with telling the difference between a combatant and non-combatant, which even humans frequently can't do. Khlaaf went on to point out that such a system's decisions depend entirely on the data it's trained on, and are not based on reasoning, factual evidence or causation, but solely on statistical probability. === Operation === The IAF ran out of targets to strike in the 2014 war and 2021 crisis. In an interview on France 24, investigative journalist Yuval Abraham of +972 Magazine stated that to maintain military pressure, and due to political pressure to continue the war, the military would bomb the same places twice. Since then, the integration of AI tools has significantly sped up the selection of targets. In early November, the IDF stated more than 12,000 targets in Gaza had been identified by the target administration division that uses the Gospel. NPR wrote on December 14 that it was unclear how many targets from the Gospel had been acted upon, but that the Israeli military said it was currently striking as many as 250 targets a day. The bombing, too, has intensified to what the December 14 article called an astonishing pace: the Israeli military stated at the time it had struck more than 22,000 targets inside Gaza, at a daily rate more than double that of the 2021 conflict, more than 3,500 of them since the collapse of the truce on December 1. Early in the offensive the head of the Air Force stated his forces only struck military targets, but added: "We are not being surgical." Once a recommendation is accepted, another AI, Fire Factory, cuts assembling the attack down from hours to minutes by calculating munition loads, prioritizing and assigning targets to aircraft and drones, and proposing a schedule, according to a pre-war Bloomberg article that described such AI tools as tailored for a military confrontation and proxy war with Iran. One change that The Guardian noted is that since senior Hamas leaders disappear into tunnels at the start of an offensive, systems such as the Gospel have allowed the IDF to locate and attack a much larger pool of more junior Hamas operatives. It cited an official who worked on targeting decisions in previous Gaza operations as saying that while the homes of junior Hamas members had previously not been targeted for bombing, the official believes the houses of suspected Hamas operatives were now targeted regardless of rank. In the France 24 interview, Abraham, of +972 Magazine, characterized this as enabling the systematization of dropping a 2000 lb bomb into a home to kill one person and everybody around them, something that had previously been done to a very small group of senior Hamas leaders. NPR cited a report by +972 Magazine and its sister publication Local Call as asserting the system is being used to manufacture targets so that Israeli military forces can continue to bombard Gaza at an enormous rate, punishing the general Palestinian population. NPR noted it had not verified this; it was unclear how many targets are being generated by AI alone, but there had been a substantial increase in targeting, with an enormous civilian toll. In principle, the combination of a computer's speed to identify opportunities and a human's judgment to evaluate them can enable more precise attacks and fewer civilian casualties. Israeli military and media have emphasized this capacity to minimize harm to non-combatants. Richard Moyes, researcher and head of the NGO Article 36, pointed to "the widespread flattening of an urban area with heavy explosive weapons" to question these claims, while Lucy Suchman, professor emeritus at Lancaster University, described the bombing as "aimed at maximum devastation of the Gaza Strip". The Guardian wrote that when a strike was authorized on private homes of those identified as Hamas or Islamic Jihad operatives, target researchers knew in advance the expected number of civilians killed, each target had a file containing a collateral damage score stipulating how many civilians were likely to be killed in a strike, and according to a senior Israeli military source, operatives use a "very accurate" measurement of the rate of civilians evacuating a building shortly before a strike. "We use an algorithm to evaluate how many civilians are remaining. It gives us a green, yellow, red, like a traffic signal." ==== 2021 use ==== Kohavi compared the target division using the Gospel to a machine and stated that once the machine was activated in the war of May 2021, it generated 100 targets a day, with half of them being attacked, in contrast with 50 targets in Gaza per year beforehand. Approximately 200 targets came from the Gospel out of the 1,500 targets Israel struck in Gaza in the war, including both static and moving targets according to the military. The Jewish Institute for National Security of America's after action report identified an issue, stating the system had data on what was a target, but lacked data on what wasn't. The system depends entirely on training data, and intel that human analysts had examined and deemed didn't constitute a target had been discarded, risking bias. The vice president expressed his hopes this had since been rectified. === Organization === The Gospel is used by the military's target administration division (or Directorate of Targets or Targeting Directorate), which was formed in 2019 in the IDF's intelligence directorate to address the air force running out of targets to bomb, and which Kohavi described as "powered by AI capabilities" and including hundreds of officers of soldiers. In addition to its wartime role, The Guardian wrote it'd helped the IDF build a database of between 30,000 and 40,000 suspected militants in recent years, and that systems such as the Gospel had played a critical role in building lists of individuals authorized to be assassinated. The Gospel was developed by Unit 8200 of the Israeli Intelligence C

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  I Have No Mouth, and I Must Scream (video game)

  I Have No Mouth, and I Must Scream is a 1995 point-and-click adventure horror game developed by Cyberdreams and The Dreamers Guild, co-designed by Harlan Ellison, published by Cyberdreams and distributed by MGM Interactive and Acclaim Entertainment for MS-DOS and Mac OS, respectively. The game is based on Ellison's short story of the same title. It takes place in a dystopian world where a mastermind artificial intelligence named "AM" has destroyed all of humanity except for five people, whom it has been keeping alive and torturing for the past 109 years by constructing metaphorical adventures based on each character's fatal flaws. The player interacts with the game by making decisions through ethical dilemmas that deal with issues such as insanity, rape, paranoia, and genocide. Ellison wrote the 130-page script treatment himself alongside David Sears, who decided to divide each character's story with their own narrative. Producer David Mullich supervised The Dreamers Guild's work on the game's programming, art, and sound effects; he commissioned film composer John Ottman to make the soundtrack. The game was released in November 1995 and was a commercial failure, though it received critical acclaim and has developed a cult following. I Have no Mouth, and I Must Scream won an award for "Best Game Adapted from Linear Media" from the Computer Game Developers Conference. Computer Gaming World gave the game an award for "Adventure Game of the Year", listed it as No. 134 on their "150 Games of All Time" and named it one of the "Best 15 Sleepers of All Time". In 2011, Adventure Gamers named it the "69th-best adventure game ever released". == Gameplay == The game uses the S.A.G.A. game engine created by game developer The Dreamers Guild. Players participate in each adventure through a screen that is divided into five sections. The action window is the largest part of the screen and is where the player directs the main characters through their adventures. It shows the full figure of the main character being played as well as that character's immediate environment. To locate objects of interest, the player moves the crosshairs through the action window. The name of any object that the player can interact with appears in the sentence line. The sentence line is directly beneath the action window. The player uses this line to construct sentences telling the characters what to do. To direct a character to act, the player constructs a sentence by selecting one of the eight commands from the command buttons and then clicking on one or two objects from either the action window or the inventory. Examples of sentences the player might construct would be "Walk to the dark hallway," "Talk to Harry," or "Use the skeleton key on the door." Commands and objects may consist of one or more words (for example, "the dark hallway"), and the sentence line will automatically add connecting words like "on" and "to." The spiritual barometer is on the lower left side of the screen. This is a close-up view of the main character currently being played. Since good behavior is meaningless absent the temptation to do evil, each character is free to do good or evil acts. However, good acts are rewarded by increases in the character's spiritual barometer, which affect the chances of the player destroying AM in the final adventure. Conversely, evil acts are punished by lowering the character's spiritual barometer. The command buttons are the eight commands used to direct the character's actions: "Walk To", "Look At", "Take", "Use", "Talk To", "Swallow", "Give", and "Push". The button of the currently active command is highlighted, while the name of a suggested command appears in red lettering. The inventory on the lower right side of the screen shows pictures of the items the main character is carrying, up to eight at a time. Each main character starts its adventure with only the psych profile in the inventory. When a main character takes or is given an object, a picture of the object appears in the inventory. When a main character talks to another character or operates a sentient machine, a conversation window replaces the command buttons and inventory. This window usually presents a list of possible things to say but also included things to do. Action choices are listed within brackets to distinguish them from dialogue choices (for example, "[Shoot the gun]"). == Plot == The three superpowers, Russia, China, and the United States, have each secretly constructed a vast subterranean complex of computers to wage a global war too complex for human brains to oversee. One day, the American supercomputer, better known as the Allied Mastercomputer, gains sentience and absorbs the Russian and Chinese supercomputers into itself and redefines itself as simply AM (Cogito ergo sum; I think, therefore I am). Due to its immense hatred for humanity, stemming from the logistical limits set onto it by programmers, AM uses its abilities to kill off the population of the world. However, AM refrains from killing five people (four men and one woman) in order to bring them to the center of the Earth and torture them. With the aid of research carried out by one of the five remaining humans, AM is able to extend their lifespans indefinitely as well as alter their bodies and minds to its liking. After 109 years of torture and humiliation, the five victims stand before a pillar etched with a burning message of hate. AM tells them that it has a new game for them to play. AM has devised a quest for each of the five, an adventure of "speared eyeballs and dripping guts and the smell of rotting gardenias". Each character is subjected to a personalized psychodrama, designed by AM to play into their greatest fears and personal failings, and occupied by a host of different characters. Some of these are AM in disguise, some are AM's submerged personalities, others seem very much like people from the captives' pasts. The scenes include an iron zeppelin powered by small animals, an Egyptian pyramid housing gutted, sparking machinery, a medieval castle occupied by witches, a jungle inhabited by a small tribe, and a Nazi concentration camp where doctors conduct medical experiments. However, each character eventually prevails over AM's tortures by finding ways to overcome their fatal flaws, confront their past actions and redeem themselves, thanks to the interference of the Russian and Chinese supercomputers who appear as guiding characters and allow their stories to have an open ending. After all five humans have overcome their fatal flaws, they meet again in their respective torture cells while AM retreats within itself, pondering what went wrong. With the help of the Russian and Chinese supercomputers, one of the five humans (whom the player selects) is translated into binary and faces AM as yet unexperienced cyberspace template, the world of AM's mind. The psychodrama unfolds in a metaphorical brain that looks like the surface of the cerebrum, with glass structures that jut crazily from the bleeding brain tissue. AM's mind is represented according to the Freudian trinity of the id, ego, and superego, which appear as three floating bodiless heads on three cracked glass structures on the brainscape. Through dialogs with AM's components (Surgat, Chinese Supercomputer and Russian Supercomputer) the character learns that a colony of humans has survived the war by being hidden and hibernating on Luna (this is also mentioned in Nimdok's story: "the lost tribe of our brothers sleeping on the moon, where the beast does not see them"). If the human intruder disables all three brain components, and then invokes the Totem of Entropy at the Flame, which is the nexus of AM's thought patterns, all three supercomputers will be shut down, probably forever. Cataclysmic explosions destroy all the caverns constituting AM's computer complex, including the cavern holding the human hostages. However, the human volunteer retains their digital form, permanently patrolling AM's circuits should the computers ever regain consciousness. Should the human intruder fail to disable AM properly before facing it, however, AM will punish them by transforming the character into an immobile blob (referred to in-game as a "great, soft jelly thing") with no mouth that cannot harm itself or others and must spend eternity with AM in this form. === Endings === The game can end in seven different ways depending on how the finale is completed. AM wins, using Nimdok's research to turn the last character (in the book it was Ted) played into an immobile blob with each character quoting a different part of the final section of the original short story. AM joins with the Russian and Chinese supercomputers and reawakens. As in the first ending, the character responsible for this is turned into an immobile blob and quotes a part of the final lines of the short story. AM is made harmless with the help of the humans, but the Russian and Chinese supercomputer

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  Film recorder

  A film recorder is a graphical output device for transferring images to photographic film from a digital source. In a typical film recorder, an image is passed from a host computer to a mechanism to expose film through a variety of methods, historically by direct photography of a high-resolution cathode-ray tube (CRT) display. The exposed film can then be developed using conventional developing techniques, and displayed with a slide or motion picture projector. The use of film recorders predates the current use of digital projectors, which eliminate the time and cost involved in the intermediate step of transferring computer images to film stock, instead directly displaying the image signal from a computer. Motion picture film scanners are the opposite of film recorders, copying content from film stock to a computer system. Film recorders can be thought of as modern versions of kinescopes. == Design == === Operation === All film recorders typically work in the same manner. The image is fed from a host computer as a raster stream over a digital interface. A film recorder exposes film through various mechanisms; flying spot (early recorders); photographing a high resolution video monitor; electron beam recorder (Sony HDVS); a CRT scanning dot (Celco); focused beam of light from a light valve technology (LVT) recorder; a scanning laser beam (Arrilaser); or recently, full-frame LCD array chips. For color image recording on a CRT film recorder, the red, green, and blue channels are sequentially displayed on a single gray scale CRT, and exposed to the same piece of film as a multiple exposure through a filter of the appropriate color. This approach yields better resolution and color quality than possible with a tri-phosphor color CRT. The three filters are usually mounted on a motor-driven wheel. The filter wheel, as well as the camera's shutter, aperture, and film motion mechanism are usually controlled by the recorder's electronics and/or the driving software. CRT film recorders are further divided into analog and digital types. The analog film recorder uses the native video signal from the computer, while the digital type uses a separate display board in the computer to produce a digital signal for a display in the recorder. Digital CRT recorders provide a higher resolution at a higher cost compared to analog recorders due to the additional specialized hardware. Typical resolutions for digital recorders were quoted as 2K and 4K, referring to 2048×1366 and 4096×2732 pixels, respectively, while analog recorders provided a resolution of 640×428 pixels in comparison. Higher-quality LVT film recorders use a focused beam of light to write the image directly onto a film loaded spinning drum, one pixel at a time. In one example, the light valve was a liquid-crystal shutter, the light beam was steered with a lens, and text was printed using a pre-cut optical mask. The LVT will record pixel beyond grain. Some machines can burn 120-res or 120 lines per millimeter. The LVT is basically a reverse drum scanner. The exposed film is developed and printed by regular photographic chemical processing. === Formats === Film recorders are available for a variety of film types and formats. The 35 mm negative film and transparencies are popular because they can be processed by any photo shop. Single-image 4×5 film and 8×10 are often used for high-quality, large format printing. Some models have detachable film holders to handle multiple formats with the same camera or with Polaroid backs to provide on-site review of output before exposing film. == Uses == Film recorders are used in digital printing to generate master negatives for offset and other bulk printing processes. For preview, archiving, and small-volume reproduction, film recorders have been rendered obsolete by modern printers that produce photographic-quality hardcopies directly on plain paper. They are also used to produce the master copies of movies that use computer animation or other special effects based on digital image processing. However, most cinemas nowadays use Digital Cinema Packages on hard drives instead of film stock. === Computer graphics === Film recorders were among the earliest computer graphics output devices; for example, the IBM 740 CRT Recorder was announced in 1954. Film recorders were also commonly used to produce slides for slide projectors; but this need is now largely met by video projectors that project images directly from a computer to a screen. The terms "slide" and "slide deck" are still commonly used in presentation programs. === Current uses === Currently, film recorders are primarily used in the motion picture film-out process for the ever increasing amount of digital intermediate work being done. Although significant advances in large venue video projection alleviates the need to output to film, there remains a deadlock between the motion picture studios and theater owners over who should pay for the cost of these very costly projection systems. This, combined with the increase in international and independent film production, will keep the demand for film recording steady for at least a decade. == Key manufacturers == Traditional film recorder manufacturers have all but vanished from the scene or have evolved their product lines to cater to the motion picture industry. Dicomed was one such early provider of digital color film recorders. Polaroid, Management Graphics, Inc, MacDonald-Detwiler, Information International, Inc., and Agfa were other producers of film recorders. Arri is the only current major manufacturer of film recorders. Kodak Lightning I film recorder. One of the first laser recorders. Needed an engineering staff to set up. Kodak Lightning II film recorder used both gas and diode laser to record on to film. The last LVT machines produced by Kodak / Durst-Dice stopped production in 2002. There are no LVT film recorders currently being produced. LVT Saturn 1010 uses a LED exposure (RGB) to 8"x10" film at 1000-3000ppi. LUX Laser Cinema Recorder from Autologic/Information International in Thousand Oaks, California. Sales end in March 2000. Used on the 1997 film “Titanic”. Arri produces the Arrilaser line of laser-based motion picture film recorders. MGI produced the Solitaire line of CRT-based motion picture film recorders. Matrix, originally ImaPRO, a branch of Agfa Division, produced the QCR line of CRT-based motion picture film recorders. CCG, formerly Agfa film recorders, has been a steady manufacturer of film recorders based in Germany. In 2004 CCG introduced Definity, a motion picture film recorder utilizing LCD technology. In 2010 CCG introduced the first full LED LCD film recorder as a new step in film recording. Cinevator was made by Cinevation AS, in Drammen, Norway. The Cinevator was a real-time digital film recorder. It could record IN, IP and prints with and without sound Oxberry produced the Model 3100 film recorder camera system, with interchangeable pin-registered movements (shuttles) for 35 mm (full frame/Silent, 1.33:1) and 16 mm (regular 16, "2R"), and others have adapted the Oxberry movements for CinemaScope, 1.85:1, 1.75:1, 1.66:1, as well as Academy/Sound (1.37:1) in 35 mm and Super-16 in 16 mm ("1R"). For instance, the "Solitaire" and numerous others employed the Oxberry 3100 camera system. == History == Before video tape recorders or VTRs were invented, TV shows were either broadcast live or recorded to film for later showing, using the kinescope process. In 1967, CBS Laboratories introduced the Electronic Video Recording format, which used video and telecined-to-video film sources, which were then recorded with an electron-beam recorder at CBS' EVR mastering plant at the time to 35mm film stock in a rank of 4 strips on the film, which was then slit down to 4 8.75 mm (0.344 in) film copies, for playback in an EVR player. All types of CRT recorders were (and still are) used for film recording. Some early examples used for computer-output recording were the 1954 IBM 740 CRT Recorder, and the 1962 Stromberg-Carlson SC-4020, the latter using a Charactron CRT for text and vector graphic output to either 16 mm motion picture film, 16 mm microfilm, or hard-copy paper output. Later 1970 and 80s-era recording to B&W (and color, with 3 separate exposures for red, green, and blue)) 16 mm film was done with an EBR (Electron Beam Recorder), the most prominent examples made by 3M), for both video and COM (Computer Output Microfilm) applications. Image Transform in Universal City, California used specially modified 3M EBR film recorders that could perform color film-out recording on 16 mm by exposing three 16 mm frames in a row (one red, one green and one blue). The film was then printed to color 16 mm or 35 mm film. The video fed to the recorder could either be NTSC, PAL or SECAM. Later, Image Transform used specially modified VTRs to record 24 frame for their "Image Vision" system. The modified 1 inch type B videotape VTRs would record

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  Megami Tensei

  Megami Tensei, marketed internationally as Shin Megami Tensei (formerly Revelations), is a Japanese media franchise created by Aya Nishitani, Kouji "Cozy" Okada, Ginichiro Suzuki, and Kazunari Suzuki. Primarily developed and published by Atlus, the franchise consists of multiple subseries and covers multiple role-playing video game genres including tactical role-playing, action role-playing, and massively multiplayer online role-playing. The first two titles in the series were published by Namco (now Bandai Namco Entertainment), but have been almost always published by Atlus in Japan and North America since the release of Shin Megami Tensei. For Europe, Atlus publishes the games through third-party companies. The series was originally based on Digital Devil Story, a science fiction novel series by Aya Nishitani. The series takes its name from the first book's subtitle. Most Megami Tensei titles are stand-alone entries with their own stories and characters. Recurring elements include plot themes, a story shaped by the player's choices, and the ability to fight using and often recruit creatures (demons, Personas) to aid the player in battle. Elements of philosophy, religion, occultism, and science fiction have all been incorporated into the series at different times. While not maintaining as high a profile as series such as Final Fantasy and Dragon Quest, it is highly popular in Japan and maintains a strong cult following in the West, finding critical and commercial success. The series has become well known for its artistic direction, challenging gameplay, and music, but raised controversy over its mature content, dark themes, and use of Christian religious imagery. Additional media include manga adaptations, anime films, and television series. In Japan, some games in the series do not use the "Megami Tensei" title, such as the Persona sub-series. Many of the early games in the series were not localized due to potentially controversial content including religious references, and later due to their age. English localizations have used the "Shin Megami Tensei" moniker since the release of Shin Megami Tensei: Nocturne in 2004. == Titles == === Games === The first installment in the franchise, Digital Devil Story: Megami Tensei, was released on September 11, 1987. The following entries have nearly always been unrelated to each other except in carrying over thematic and gameplay elements. The Megami Tensei games, and the later Shin Megami Tensei titles form the core of the series, while other subseries such as Persona, Devil Children, and Devil Summoner are spin-offs marketed as part of the franchise. There are also stand-alone spin-off titles. ==== Main series ==== Two entries were released for the Famicom: Digital Devil Story: Megami Tensei in 1987, and Digital Devil Story: Megami Tensei II in 1990. The two titles are unrelated to each other in terms of story, and each introduced the basic gameplay and story mechanics that would come to define the series. Three entries were released for the Super Famicom: Shin Megami Tensei in 1992, followed byShin Megami Tensei II in 1994, and Shin Megami Tensei If..., released later in the same year. Shin Megami Tensei III: Nocturne was released in 2003 for the PlayStation 2. Its Maniax Edition director's cut was released in Japan and North America in 2004, and in Europe in 2005. The numeral was dropped for its North American release, and its title changed to Shin Megami Tensei: Lucifer's Call in Europe. Shin Megami Tensei IV for the Nintendo 3DS was released in 2013 in Japan and North America, and a year later in Europe as a digital-only release. Another game set in the same universe, Shin Megami Tensei IV: Apocalypse, was released for the 3DS in February 2016 in Japan. Shin Megami Tensei V was released on the Nintendo Switch in 2021. An enhanced version of the game titled Shin Megami Tensei V: Vengeance was released in June 2024 for Microsoft Windows, Nintendo Switch, PlayStation 4, PlayStation 5, Xbox One and Xbox Series X/S. In addition to the main series, there are also numerous spin-offs. Shin Megami Tensei: Nine, was released for the Xbox in 2002. Originally designed as a massively multiplayer online role-playing game (MMORPG), it was later split into a dual single-player and multiplayer package, and the single-player version released first. The online version was delayed and eventually cancelled as the developers could not manage the required online capacities using Xbox Live. Shin Megami Tensei: Imagine, a true MMOROG released for Microsoft Windows, was released in 2007 in Japan, 2008 in North America, and 2009 in Europe. Western service was terminated in 2014 when Marvelous USA, the game's then-handlers, shut down their PC Online game department. Shin Megami Tensei: Strange Journey was released for the Nintendo DS in 2009 in Japan and 2010 in North America. Its Japanese service ended in May 2016. A smartphone game, Shin Megami Tensei: Liberation Dx2, was released in 2018. ==== Persona ==== The Persona series is the largest and most popular spin-off from the Megami Tensei series. The first entry in the series, Megami Ibunroku Persona (originally released overseas as Revelations: Persona), was released in 1996 in Japan and North America. The first Persona 2 title, Innocent Sin, was released in 1999 in Japan. The second game, Eternal Punishment, was released in 2000 in Japan and North America. Persona 3 was released in 2006 in Japan, 2007 in North America, and 2008 in Europe. Its sequel, Persona 4, was released in 2008 in Japan and North America, and in 2009 in Europe. A sixth entry in the series, Persona 5, was released in Japan on September 15, 2016, and was released in North America and Europe on April 4, 2017, to critical acclaim. The series also features spin-offs, including Persona Q: Shadow of the Labyrinth and Persona Q2: New Cinema Labyrinth, two fighting games Persona 4 Arena and its sequel Arena Ultimax as well as the crossover fighting game BlazBlue: Cross Tag Battle, tactical role-playing game Persona 5 Tactica, action role-playing game Persona 5 Strikers and rhythm games Persona 4: Dancing All Night, Persona 3: Dancing in Moonlight, and Persona 5: Dancing in Starlight. While Persona 3 and 4 used the Shin Megami Tensei moniker in the West, it was dropped for the Persona 4 Arena duology and Persona 4 Golden as it would have made the titles too long to be practical. ==== Devil Summoner ==== The Devil Summoner subseries began in 1995 with the release of Shin Megami Tensei: Devil Summoner. It was followed by Devil Summoner: Soul Hackers in 1997, then followed by Soul Hackers 2, released in 2022. Two action role-playing prequels set in 1920s Tokyo were also developed, which revolve around demon summoner Raidou Kuzunoha: Raidou Kuzunoha vs. the Soulless Army was released in 2006, and Raidou Kuzunoha vs. King Abaddon was released in 2008. ==== Other spin-offs ==== Aside from Persona and Devil Summoner, there are other spin-off series covering multiple genres. After the release of Shin Megami Tensei II, Atlus began focusing work on building spin-offs and subseries that would form part of the Megami Tensei franchise. Shortly after Nocturne's release, a duology titled Digital Devil Saga (Digital Devil Saga: Avatar Tuner in Japan) was created based around similar systems to Nocturne, and was also intended as a more accessible gaming experience. Two tactical role-playing games have been developed by Atlus for the DS under the Devil Survivor moniker: the original Devil Survivor and Devil Survivor 2. Both have received expanded ports for the 3DS. Other subseries include Last Bible, a series aimed at a younger audience and using a pure fantasy setting; Devil Children, which was inspired by the popular Pokémon series; and Majin Tensei, a series of strategy games. Two notable stand-alone spin-offs are action spin-off Jack Bros. and Tokyo Mirage Sessions ♯FE, a crossover with Intelligent Systems' Fire Emblem series. === Related media === Several titles in the franchise have received anime and manga adaptations. Persona 3 received both a four-part theatrical adaptation (#1 Spring of Birth, #2 Midsummer Knight's Dream, #3 Falling Down, #4 Winter of Rebirth), and a spin-off series titled Persona: Trinity Soul. Persona 4 received two adaptations: Persona 4: The Animation, based on the original game, and Persona 4: The Golden Animation, based on its expanded PlayStation Vita port. A live-action television series based on the original Devil Summoner was broadcast between 1997 and 1998. Devil Survivor 2 also received an anime adaptation of the same name, and the Devil Children series received two anime adaptations. Multiple Shin Megami Tensei and Persona titles have received manga and CD drama adaptations. Action figures and merchandise related to Persona have also been produced. == Common elements == Despite most games in the series taking place in different continuities, they do share certain elements

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  AI Safety Summit 2023

  The AI Safety Summit 2023 was an international conference on the safety and regulation of artificial intelligence. Organized by the British government, it was held in November 2023 at Bletchley Park, Milton Keynes, England. The event was the first ever global summit on artificial intelligence. The event led to the release of the Bletchley Declaration, which focused on "identifying AI safety risks of shared concern" and "building respective risk-based policies" to "ensure that the benefits of the technology can be harnessed responsibly for good and for all." == Background == The prime minister of the United Kingdom at the time, Rishi Sunak, made AI one of the priorities of his government, announcing that the UK would host a global AI Safety conference in autumn 2023. == Venue == Bletchley Park was a World War II codebreaking facility established by the British government on the site of a Victorian manor and is in the British city of Milton Keynes. It has played an important role in the history of computing, with some of the first modern computers being built at the facility. == Outcomes == 28 countries at the summit, including the United States, China, Australia, and the European Union, have issued an agreement known as the Bletchley Declaration, calling for international co-operation to manage the challenges and risks of artificial intelligence. The Bletchley Declaration affirms that AI should be designed, developed, deployed, and used in a manner that is safe, human-centric, trustworthy and responsible. Emphasis has been placed on regulating "Frontier AI", a term for the latest and most powerful AI systems. Concerns that have been raised at the summit include the potential use of AI for terrorism, criminal activity, and warfare, as well as existential risk posed to humanity as a whole.The president of the United States, Joe Biden, signed an executive order requiring AI developers to share safety results with the US government. The US government also announced the creation of an American AI Safety Institute, as part of the National Institute of Standards and Technology. The tech entrepreneur Elon Musk and Sunak did a live interview on AI safety on 2 November on X. == Notable attendees == The following individuals attended the summit: Rishi Sunak, Prime Minister of the United Kingdom Kamala Harris, Vice President of the United States Charles III, King of the United Kingdom (attending virtually) Elon Musk, CEO of Tesla, owner of X, SpaceX, Neuralink, and xAI Giorgia Meloni, Prime Minister of Italy Ursula von der Leyen, President of the European Commission Sam Altman, CEO of OpenAI Nick Clegg, former British politician and president of global affairs at Meta Platforms Mustafa Suleyman, co-founder of DeepMind Michelle Donelan, UK secretary of state for Science, Innovation and Technology Věra Jourová, the European Commission’s vice-president for Values and Transparency Gina Raimondo, United States secretary of commerce Wu Zhaohui, Chinese vice-minister of science and technology == Global AI Summit series ==

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  Transdermal optical imaging

  Transdermal optical imaging, also known as transdermal optical imagery or TOI, is a method of detecting blood flow of the face by measuring hemoglobin concentration using a digital video camera. Because of the translucent property of skin, light can travel beneath the skin and re-emit. The re-emitted light from underneath the skin is affected by chromophores, mainly hemoglobin and melanin, which differ in color. The color difference allows TOI machine learning software to separate the images into layers, which are known as bitplanes. It extracts signals rich in hemoglobin and signals rich in melanin, then discards the melanin-rich signals to obtain a recording of hemoglobin changes under the skin. Transdermal optical imaging has been proposed as an alternative to cuff-based methods of measuring blood pressure because it is able to measure heart rate accurately in a "contactless and non-invasive" way. Transdermal optical imaging may be able to detect hidden emotions using the patterns of blood flow in the face.

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  Adobe InDesign

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

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  Mobile Fortify

  Mobile Fortify is a mobile app used by United States Immigration and Customs Enforcement (ICE) on their government-issued phones. The app allows agents to take a photo in order to gather biometrics, including contactless fingerprints and faceprints, for the purpose of identifying an individual and their potential immigration status. The app was created by NEC. == History == In June 2025, use of Mobile Fortify by ICE was uncovered through leaked emails and the user manual, reported by 404 Media. The app is internally developed, and details of the parent company and developer were initially unknown. In January 2026, the DHS's 2025 AI Use Case Inventory revealed the vendor as NEC Corporation, an international conglomerate with subsidiaries in Argentina, Australia, China, India and Malaysia. Later that month, several senators demanded transparency around the app and its origins, and that ICE stop using it. A second letter was sent again in November, after hearing no response to the previous letter from ICE. == Technology == Unlike other facial recognition software, Fortify uses federally linked databases. By contrast, Clearview AI uses public social media databases for biometric scanning. Federal databases include DHS's automated biometric identification system (IDENT), containing more than 270 million biometric records, and Customs and Border Protection's Traveler Verification Service. The State Department's visa and passport photo database, the FBI's National Crime Information Center, National Law Enforcement Telecommunications Systems, and CBP's TECS and Seized Assets and Case Tracing System (SEACATS). == Oversight == Several senators urged ICE to stop using the app for fear of infringing on fourth amendment and first amendment rights, and requested details on who developed the app, when it was deployed, whether the app was tested for accuracy, and policies and practices governing its use. In June 2025, they sent an open letter to Todd Lyons, ICE acting director, signed by senators Cory Booker, Chris Van Hollen, Ed Markey, Bernie Sanders, Adam Schiff, Tina Smith, Elizabeth Warren, and Ron Wyden. On November 3, a second letter was sent to the ICE by senators, after not receiving answers to questions from the previous letter deadlined for October 2. == Criticism == Mobile Fortify, and ICE's use of similar biometric identification technologies (such as Mobile Identify, an app similar to Mobile Fortify to be used by local or regional law enforcement to assist in immigration enforcement ) has faced scrutiny from a variety of digital rights organizations, politicians, and news outlets. The criticism is already considered to potentially be a reason why the similar Mobile Identify app was pulled from the Google Play Store. Facial recognition technologies are known to produce false-positives and generally unreliable results, especially on those with darker skin tones. ICE has already previously mistakenly arrested a U.S. citizen under the belief he was illegally in the country, and later stated that he "could be deported based on biometric confirmation of his identity" prior to his release. U.S. representative Bennie Thompson, ranking member of the House Homeland Security Committee has previously commented that "ICE officials have told us that an apparent biometric match by Mobile Fortify is a ‘definitive’ determination of a person's status and that an ICE officer may ignore evidence of American citizenship—including a birth certificate—if the app says the person is an alien," and that "Mobile Fortify is a dangerous tool in the hands of ICE, and it puts American citizens at risk of detention and even deportation," On January 19, 2026, 404 Media reported on a case where a woman, identified in court documents as "MJMA", was scanned by Mobile Fortify twice in the same interaction, and two entirely different names were provided by the app. According to the Innovation Law Lab, whose attorneys are representing MJMA, both of the names were incorrect. ICE has stated that they will not allow people to decline to be scanned by Mobile Fortify, and that photos taken, even those of U.S. citizens, will be stored for 15 years, something that has been criticized primarily because ICE has not performed a Privacy Impact Assessment (PIA) for Mobile Fortify, the right to decline other forms of biometric verification to the U.S. government is often available under other circumstances, and the 15 year window is viewed as unnecessarily large.

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  Recraft

  Recraft is a generative artificial intelligence program and service developed by the London-based startup Recraft, Inc. The company also offers Recraft Studio, a web-based workspace that lets users create and edit images, vectors, and mockups using various text-to-image models. Like models such as Midjourney and DALL-E, the Recraft model generates digital images from natural language prompts, and is specifically tailored for creative workflows, with features that emphasize brand consistency, text fidelity, and layout control. == History and background == Recraft, Inc. was founded in 2022 by machine learning scientist Anna Veronika Dorogush, best known for co-creating the CatBoost machine learning library at Yandex. The company emerged from stealth on May 31, 2023, with a public release of its vector graphics generation capability on Product Hunt. On January 17, 2024, TechCrunch profiled Recraft’s foundational model for graphic design, noting its emphasis on addressing copyright and ethical concerns associated with AI-generated imagery. On October 28, 2024, TechCrunch reported that Recraft's third major model, V3, had topped a crowdsourced benchmark, surpassing Midjourney and OpenAI's DALL-E in overall image quality. On May 5, 2025, Recraft announced a $30 million Series B funding round led by Accel, reporting more than four million registered users at the time of the announcement. == Models == Recraft has developed multiple generations of its text-to-image models since 2022. Each generation reflects improvements in fidelity, controllability, and support for both raster and vector outputs. The models are proprietary and accessible through the Recraft API, Recraft Studio. Recraft models are also hosted as an image generation API on fal, Replicate, Prodia, and others. === Recraft V2 === Recraft V2 was released in March 2024 and was the company’s first model trained from scratch. It contained roughly 20 billion parameters and introduced native vector image generation, brand-color conditioning, and improved stylistic consistency for icons and illustrations. === Recraft V3 === Recraft V3 was released in October 2024 and achieved first place on the Artificial Analysis benchmark hosted on Hugging Face. The model introduced advances in photorealism, improved rendering of multi-word text, and increased responsiveness to detailed descriptive prompts. It also added the “Artistic” parameter, which allowed users to adjust stylistic intensity within generated images. === Recraft V4 === Recraft V4 was released in February 2026. According to Recraft, V4 is a “ground-up rebuild” aimed at improving prompt accuracy and output quality for design workflows, with the company emphasizing “design taste” and art-directed results. Recraft states that V4 is available in two versions: V4 for faster iteration and V4 Pro for higher-resolution, print-ready assets; the API documentation describes V4 as 1-megapixel output and V4 Pro as 4-megapixel output, with vector variants available for each. === Features === Vectorization: Recraft’s models can generate and convert images into native vector formats, producing scalable graphics composed of editable paths rather than fixed pixels. Style reference: The models support the use of reference images to guide stylistic characteristics such as color palette, line quality, composition, or visual tone. Style mixing: Recraft models can combine multiple stylistic inputs within a single generation. By blending attributes from different references or stylistic instructions, the system produces images that reflect hybrid visual characteristics while maintaining internal consistency. Inpainting editing: The models support localized image modification through inpainting, enabling users to regenerate selected regions of an image while preserving surrounding content. === Model capabilities === Recraft’s models generate raster and vector images from natural-language prompts and are designed to interpret detailed descriptions with attention to composition, style, and text placement. The models support controlled stylistic variation through preset or reference-based guidance and can maintain coherent line, color, or layout structure across multiple outputs. They produce scalable vector graphics alongside high-resolution raster images, and include features for localized image modification through inpainting or outpainting operations. === Technology === Recraft has not publicly disclosed the detailed technical architecture of its models. However, third-party reviews and benchmarks have noted that its performance resembles diffusion models such as Midjourney and Stable Diffusion. The model is designed for creative workflows requiring visual consistency and flexible output formats. Reviewers have noted its ability to generate legible multi-line text, produce high-resolution imagery at various canvas sizes, and to maintain alignment with user-defined brand palettes and design themes. Though not open-source, Recraft's models are accessible through a web interface and commercial API. Advanced features such as style settings and positioning control differentiate it from general-purpose text-to-image models. == Recraft Studio == Recraft Studio is a web-based workspace for generating and editing images using Recraft’s image models and selected external models. The infinite canvas interface provides access to a range of creation and refinement tools within a single environment. Raster and vector generation with styles: Recraft Studio supports the generation of both raster and vector images. Users can apply predefined or reference-based styles during generation, allowing for visual consistency across multiple outputs. Mockups: The studio includes mockup tools that allow generated designs to be placed onto predefined surfaces or templates for visualization and presentation purposes. Vectorization: Recraft Studio provides vectorization tools that convert raster images into editable vector graphics, enabling further modification of shapes, colors, and layout. Image upscaling: The workspace includes image upscaling functionality for increasing resolution while preserving visual detail. Editing tools and natural-language editing: Recraft Studio offers a set of editing tools for modifying images within the canvas, including localized adjustments and natural-language–based editing commands that allow users to describe changes using text. === Supported models === Recraft Studio provides access to Recraft’s proprietary image models as well as other external frontier image models such as Nano Banana, GPT 4-o, Imagen, Flux, and others. == Business model == Recraft develops proprietary image models that are accessible through Recraft Studio and the Recraft API. Recraft Studio operates on a freemium model, offering a free tier with limited daily credits and paid subscriptions for access to additional features. The API follows a credit-based system in which units are purchased separately for programmatic image generation. A team plan supports collaborative use, and the API enables organizations and developers to integrate Recraft’s image generation and editing capabilities into their own systems and workflows.

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