AI Code Fixer

AI Code Fixer — independent reviews, comparisons, pricing and step-by-step guides on Aizhi.

  • EasyA

    EasyA

    EasyA is a web3 technology company and education platform based in London (United Kingdom), founded in 2022 by Phil Kwok and Dom Kwok. EasyA was officially launched in 2022, focusing on web3 technologies. This community was influenced by the founders' experiences during the COVID-19 pandemic and early collaborations with universities and other educational institutions. Subsequently, the community was used as a foundation for developing Web3-related initiatives, including the organisation of EasyA's first Web3 hackathon in 2022. The EasyA app has over one million users and provides educational content on various blockchain technologies. EasyA Labs is a separate initiative focused on developing products intended to improve accessibility to cryptocurrency for a broader audience.

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  • Sunspring

    Sunspring

    Sunspring is a 2016 experimental science fiction short film entirely written by an artificial intelligence bot using neural networks. It was conceived by BAFTA-nominated filmmaker Oscar Sharp and NYU AI researcher Ross Goodwin and produced by film production company, End Cue along with Allison Friedman and Andrew Swett. It stars Thomas Middleditch, Elisabeth Grey, and Humphrey Ker as three people, namely H, H2, and C, living in a future world and eventually connecting with each other through a love triangle. The script of the film was authored by a recurrent neural network called long short-term memory (LSTM) by an AI bot named Benjamin. Originally made for the Sci-Fi-London film festival's 48hr Challenge, it was released online by technology news website Ars Technica on 9 June 2016. == Premise == Sunspring narrates the story of three people - H (Middleditch), H2 (Grey), and C (Ker) - set in a futuristic world and entangled with murder and love. == Cast == Thomas Middleditch as H Elisabeth Grey as H2 Humphrey Ker as C == Production == Oscar Sharp originally created the film for the 48hr Film Challenge contest of Sci-Fi-London, a film festival which focuses on science fiction. For the challenge, contestants are given a set of prompts (mostly props and lines) that have to appear in a movie they make over the next two days. It eventually contested in the festival and was nominated among the final top ten films Sharp collaborated with his longtime associate Ross Goodwin, an AI researcher in New York University to create the AI bot, which was initially called Jetson. The bot, which later came to call itself Benjamin, wrote the screenplay including stage directions and dialog. The garbled script was then interpreted by Sharp who directed the actors to construe the plot points themselves and enact the play. According to Ars Technica, the final plot turned out to be a tale of romance and murder, set in a dark future world. === Benjamin, the automatic screenwriter === Called the world's first automatic screenwriter, Benjamin is a self-improving LSTM RNN machine intelligence trained on human screenplays conceived by Goodwin and Sharp. It was trained to write the screenplay by feeding it with a corpus of dozens of sci-fi screenplays found online—mostly movies from the 1980s and 90s. == Music == The film contains a song from Brooklyn-based electro-acoustic duo Tiger and Man, with lyrics written by Benjamin using a database of 30,000 folk songs. As well as a score written by composer Andrew Orkin. == Reception == CNet called it "a beautiful, bizarre sci-fi novelty." Critic Amanda Kooser said, "...probably won't start a rush for replacing human screenwriters with machines. Some day, neural networks may get better at imitating the art of coherent storytelling, but we're not there yet. That doesn't mean "Sunspring" isn't entertaining or worthy of viewing. It is. It's a thought experiment come to life, a novelty." As of April 2019, it has surpassed 1 million views on YouTube.

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  • Recraft

    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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  • Possibility theory

    Possibility theory

    Possibility theory is a mathematical theory for dealing with certain types of uncertainty and is an alternative to probability theory. It uses measures of possibility and necessity between 0 and 1, ranging from impossible to possible and unnecessary to necessary, respectively. Professor Lotfi Zadeh first introduced possibility theory in 1978 as an extension of his theory of fuzzy sets and fuzzy logic. Didier Dubois and Henri Prade further contributed to its development. Earlier, in the 1950s, economist G. L. S. Shackle proposed the min/max algebra to describe degrees of potential surprise. == Formalization of possibility == For simplicity, assume that the universe of discourse Ω is a finite set. A possibility measure is a function Π {\displaystyle \Pi } from 2 Ω {\displaystyle 2^{\Omega }} to [0, 1] such that: Axiom 1: Π ( ∅ ) = 0 {\displaystyle \Pi (\varnothing )=0} Axiom 2: Π ( Ω ) = 1 {\displaystyle \Pi (\Omega )=1} Axiom 3: Π ( U ∪ V ) = max ( Π ( U ) , Π ( V ) ) {\displaystyle \Pi (U\cup V)=\max \left(\Pi (U),\Pi (V)\right)} for any disjoint subsets U {\displaystyle U} and V {\displaystyle V} . It follows that, like probability on finite probability spaces, the possibility measure is determined by its behavior on singletons: Π ( U ) = max ω ∈ U Π ( { ω } ) . {\displaystyle \Pi (U)=\max _{\omega \in U}\Pi (\{\omega \}).} Axiom 1 can be interpreted as the assumption that Ω is an exhaustive description of future states of the world, because it means that no belief weight is given to elements outside Ω. Axiom 2 could be interpreted as the assumption that the evidence from which Π {\displaystyle \Pi } was constructed is free of any contradiction. Technically, it implies that there is at least one element in Ω with possibility 1. Axiom 3 corresponds to the additivity axiom in probabilities. However, there is an important practical difference. Possibility theory is computationally more convenient because Axioms 1–3 imply that: Π ( U ∪ V ) = max ( Π ( U ) , Π ( V ) ) {\displaystyle \Pi (U\cup V)=\max \left(\Pi (U),\Pi (V)\right)} for any subsets U {\displaystyle U} and V {\displaystyle V} . Because one can know the possibility of the union from the possibility of each component, it can be said that possibility is compositional with respect to the union operator. Note however that it is not compositional with respect to the intersection operator. Generally: Π ( U ∩ V ) ≤ min ( Π ( U ) , Π ( V ) ) ≤ max ( Π ( U ) , Π ( V ) ) . {\displaystyle \Pi (U\cap V)\leq \min \left(\Pi (U),\Pi (V)\right)\leq \max \left(\Pi (U),\Pi (V)\right).} When Ω is not finite, Axiom 3 can be replaced by: For all index sets I {\displaystyle I} , if the subsets U i , i ∈ I {\displaystyle U_{i,\,i\in I}} are pairwise disjoint, Π ( ⋃ i ∈ I U i ) = sup i ∈ I Π ( U i ) . {\displaystyle \Pi \left(\bigcup _{i\in I}U_{i}\right)=\sup _{i\in I}\Pi (U_{i}).} == Necessity == Whereas probability theory uses a single number, the probability, to describe how likely an event is to occur, possibility theory uses two concepts, the possibility and the necessity of the event. For any set U {\displaystyle U} , the necessity measure is defined by N ( U ) = 1 − Π ( U ¯ ) {\displaystyle N(U)=1-\Pi ({\overline {U}})} . In the above formula, U ¯ {\displaystyle {\overline {U}}} denotes the complement of U {\displaystyle U} , that is the elements of Ω {\displaystyle \Omega } that do not belong to U {\displaystyle U} . It is straightforward to show that: N ( U ) ≤ Π ( U ) {\displaystyle N(U)\leq \Pi (U)} for any U {\displaystyle U} and that: N ( U ∩ V ) = min ( N ( U ) , N ( V ) ) {\displaystyle N(U\cap V)=\min(N(U),N(V))} . Note that contrary to probability theory, possibility is not self-dual. That is, for any event U {\displaystyle U} , we only have the inequality: Π ( U ) + Π ( U ¯ ) ≥ 1 {\displaystyle \Pi (U)+\Pi ({\overline {U}})\geq 1} However, the following duality rule holds: For any event U {\displaystyle U} , either Π ( U ) = 1 {\displaystyle \Pi (U)=1} , or N ( U ) = 0 {\displaystyle N(U)=0} Accordingly, beliefs about an event can be represented by a number and a bit. == Interpretation == There are four cases that can be interpreted as follows: N ( U ) = 1 {\displaystyle N(U)=1} means that U {\displaystyle U} is necessary. U {\displaystyle U} is certainly true. It implies that Π ( U ) = 1 {\displaystyle \Pi (U)=1} . Π ( U ) = 0 {\displaystyle \Pi (U)=0} means that U {\displaystyle U} is impossible. U {\displaystyle U} is certainly false. It implies that N ( U ) = 0 {\displaystyle N(U)=0} . Π ( U ) = 1 {\displaystyle \Pi (U)=1} means that U {\displaystyle U} is possible. I would not be surprised at all if U {\displaystyle U} occurs. It leaves N ( U ) {\displaystyle N(U)} unconstrained. N ( U ) = 0 {\displaystyle N(U)=0} means that U {\displaystyle U} is unnecessary. I would not be surprised at all if U {\displaystyle U} does not occur. It leaves Π ( U ) {\displaystyle \Pi (U)} unconstrained. The intersection of the last two cases is N ( U ) = 0 {\displaystyle N(U)=0} and Π ( U ) = 1 {\displaystyle \Pi (U)=1} meaning that I believe nothing at all about U {\displaystyle U} . Because it allows for indeterminacy like this, possibility theory relates to the graduation of a many-valued logic, such as intuitionistic logic, rather than the classical two-valued logic. Note that unlike possibility, fuzzy logic is compositional with respect to both the union and the intersection operator. The relationship with fuzzy theory can be explained with the following classic example. Fuzzy logic: When a bottle is half full, it can be said that the level of truth of the proposition "The bottle is full" is 0.5. The word "full" is seen as a fuzzy predicate describing the amount of liquid in the bottle. Possibility theory: There is one bottle, either completely full or totally empty. The proposition "the possibility level that the bottle is full is 0.5" describes a degree of belief. One way to interpret 0.5 in that proposition is to define its meaning as: I am ready to bet that it's empty as long as the odds are even (1:1) or better, and I would not bet at any rate that it's full. == Possibility theory as an imprecise probability theory == There is an extensive formal correspondence between probability and possibility theories, where the addition operator corresponds to the maximum operator. A possibility measure can be seen as a consonant plausibility measure in the Dempster–Shafer theory of evidence. The operators of possibility theory can be seen as a hyper-cautious version of the operators of the transferable belief model, a modern development of the theory of evidence. Possibility can be seen as an upper probability: any possibility distribution defines a unique credal set of admissible probability distributions by K = { P ∣ ∀ S P ( S ) ≤ Π ( S ) } . {\displaystyle K=\{\,P\mid \forall S\ P(S)\leq \Pi (S)\,\}.} This allows one to study possibility theory using the tools of imprecise probabilities. == Necessity logic == We call generalized possibility every function satisfying Axiom 1 and Axiom 3. We call generalized necessity the dual of a generalized possibility. The generalized necessities are related to a very simple and interesting fuzzy logic called necessity logic. In the deduction apparatus of necessity logic the logical axioms are the usual classical tautologies. Also, there is only a fuzzy inference rule extending the usual modus ponens. Such a rule says that if α and α → β are proved at degree λ and μ, respectively, then we can assert β at degree min{λ,μ}. It is easy to see that the theories of such a logic are the generalized necessities and that the completely consistent theories coincide with the necessities (see for example Gerla 2001).

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  • ElabFTW

    ElabFTW

    eLabFTW is a web application written by Nicolas Carpi in PHP which can be used to create personal and common logbooks. It has been developed at the Curie Institute originally. Besides there, it is used on universities around the world eLabFTW is licensed under the GNU Affero General Public License as free software. It is translated into seven languages. == Description == eLabFTW is a free and open-source lab book. It is written in PHP and uses a MySQL database. Docker containers are also available. Among the various features are Secure. Entries and transmission are encrypted Timestamps. RFC 3161 compliant timestamping of experiments. Inventory management. Apart from experience logs, it also can manage the inventory Import and export. Entries can be imported and exported == Platforms == eLabFTW is a PHP package with Mysql database. Therefore, it can be executed on most servers. Furthermore, the docker containers allow to run it almost everywhere. == Usage == eLabFTW is used by various universities, like University of Alberta, Berkeley University, Hanover Medical School, Cardiff University and UMC Utrecht

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  • Generative literature

    Generative literature

    Generative literature is poetry or fiction that is automatically generated, often using computers. It is a genre of electronic literature, and also related to generative art. John Clark's Latin Verse Machine (1830–1843) is probably the first example of mechanised generative literature, while Christopher Strachey's love letter generator (1952) is the first digital example. With the large language models (LLMs) of the 2020s, generative literature is becoming increasingly common. == Definitions == Hannes Bajohr defines generative literature as literature involving "the automatic production of text according to predetermined parameters, usually following a combinatory, sometimes aleatory logic, and it emphasizes the production rather than the reception of the work (unlike, say, hypertext)." In his book Electronic Literature, Scott Rettberg connects generative literature to avant-garde literary movements like Dada, Surrealism, Oulipo and Fluxus. Bajohr argues that conceptual art is also an important reference. == Paradigms of generative literature == Bajohr describes two main paradigms of generative literature: the sequential paradigm, where the text generation is "executed as a sequence of rule-steps" and employs linear algorithms, and the connectionist paradigm, which is based on neural nets. The latter leads to what Bajohr calls a algorithmic empathy: "a non-anthropocentric empathy aimed not at the psychological states of the artists but at understanding the process of the work’s material production." == Poetry generation == The first examples of automated generative literature are poetry: John Clark's mechanical Latin Verse Machine (1830–1843) produced lines of hexameter verse in Latin, and Christopher Strachey's love letter generator (1952), programmed on the Manchester Mark 1 computer, generated short, satirical love letters. Examples of generative poetry using artificial neural networks include David Jhave Johnston's ReRites. == Narrative generation == Story generators have often followed specific narratological theories of how stories are constructed. An early example is Grimes' Fairy Tales, the "first to take a grammar-based approach and the first to operationalize Propp's famous model." Mike Sharples and Rafael Peréz y Peréz's book Story Machines gives a detailed history of story generation. Storyland by Nanette Wylde is an example of generative narrative. Jonathan Baillehache compares Storyland to Surrealist writing. Baillehache states, "When compared to earlier uses of chance operation in literature, a piece like this one resembles some of the automatic writings produced by André Breton and Philippe Soupault in their collective work The Magnetic Fields. . . The difference between Nanette Wylde’s Storyland and Breton and Soupault’s Magnetic Fields is that the former is produced according to a computational algorithm involving randomizers and user interaction, and the latter by two free-wheeling human subjects."

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  • SpreeAI

    SpreeAI

    SpreeAI (stylized as SPREEAI) is an American fashion technology company headquartered in Incline Village, Nevada that develops artificial intelligence software for the apparel and retail industries, including photorealistic virtual try-on, AI-powered sizing recommendations, and digital model generation. Founded in 2022 by John Imah and Bob Davidson, the company achieved unicorn status in 2025 following a Series B round led by Davidson Group that valued the company at approximately US$1.5 billion. TechCrunch identified SpreeAI as one of the more than 100 new tech unicorns minted in 2025. Its board of directors includes supermodel Naomi Campbell and hospitality executive Larry Ruvo. == History == SpreeAI was founded in 2022 by John Imah and Bob Davidson with a focus on artificial intelligence applications in fashion retail. By 2024, the company had raised approximately US$60 million in venture funding. In May 2025, SpreeAI announced a Series B round led by Davidson Group; reporting at the time placed the company's valuation at approximately US$1.5 billion, making it one of a small number of fashion-technology companies to reach unicorn status. In January 2026, TechCrunch listed SpreeAI among the more than 100 new tech unicorns minted in 2025. == Technology == SpreeAI develops a suite of artificial intelligence tools for the apparel industry. Its consumer-facing platform allows shoppers to upload a single photograph or select a digital model and then visualize clothing items on that figure with photorealistic rendering, while a complementary sizing engine generates fit recommendations intended to reduce returns. The platform is designed for integration with online retailers so that shoppers can preview garments before purchase. The company has stated that its models were developed in part through research collaborations with the Massachusetts Institute of Technology and Carnegie Mellon University. == Leadership and board == John Imah, a Nigerian-American technology executive who previously held roles at Samsung, Twitch, Meta Platforms, and Snap Inc., is co-founder and chief executive officer. Co-founder Bob Davidson, through Davidson Group, led the company's Series B financing. The company's board of directors includes supermodel Naomi Campbell, who joined in 2024, and Las Vegas hospitality executive Larry Ruvo. == Partnerships == SpreeAI has formed partnerships across both academia and the fashion industry. Council of Fashion Designers of America (CFDA). In 2025, SpreeAI entered a partnership with the CFDA to support American designers and brands with AI-driven tools; the CFDA described SpreeAI as "a fashion technology leader delivering innovative solutions to help designers and brands thrive." Massachusetts Institute of Technology and Carnegie Mellon University. The company has cited ongoing research and talent collaborations with both institutions. Sergio Hudson and Kai Collective. In 2025, SpreeAI made what WWD described as its Met Gala debut through a custom collaboration with designer Sergio Hudson and Nigerian-British label Kai Collective; the collaboration paired Hudson's couture with SpreeAI's virtual try-on platform. == Recognition == In 2025, TechCrunch named SpreeAI among the new tech unicorns of the year. In 2025, SpreeAI was named an honoree in Inc.'s Best in Business awards, and CEO John Imah was included on Inc.'s list of 40 business leaders who "propelled their organizations to success." In 2025, Imah was named to the Observer's AI Power Index, a list of 100 leaders shaping the future of artificial intelligence. In 2025, Imah was included in AfroTech's Future 50, recognizing Black innovators in technology. SpreeAI and Imah have been the subject of profile coverage in The Washington Post, Rolling Stone UK, WWD, Vogue UA, L'Officiel Arabia, GQ South Africa, and Inc..

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  • Refik Anadol

    Refik Anadol

    Refik Anadol (born November 7, 1985) is a Turkish American media artist and the co-founder of Refik Anadol Studio and Dataland. Recognized as a pioneer in the aesthetics of data visualization and AI arts, his work merges art, technology, science, and architecture. Through media embedded into existing architecture, live audio-visual performances, immersive rooms, exhibitions, AI data paintings and sculptures, and digital collections, Anadol explores collective memories, humanity's relationship to nature, the perception of space and time, and human-machine collaborations. His work has been exhibited in more than seventy cities on six continents. == Early life and education == Anadol was born and raised in Istanbul and grew up in a family of teachers. He taught himself basic programming on a Commodore 64 when he was eight. His connection to machines began with coding and video games. Anadol saw Blade Runner for the first time when he was eight; his mother said the way he perceived his surroundings shifted the day after he saw the film. He was fascinated with its futuristic depiction of downtown Los Angeles, and transfixed by as a scene during which a replicant discovers that her memories are an implanted component of her machine mind, In a 2024 interview with the Financial Times, he said: "Since that moment, one of my inspirations has been that question: 'What can a machine do with someone else's memories?" Anadol attended Istanbul Bilgi University, where he received a BA in photography and video in 2009 and an MFA in visual communication in 2011. In 2014 he earned an MFA in design media arts at UCLA. He was mentored by Casey Reas, Jennifer Steinkamp, and Christian Moeller. == Career and selected works == === 2008–2012: Data painting, Quadrature and Quadrangle, Istanbul Biennial === As an undergraduate, Anadol read a paper by Lev Manovich on augmented space. Manovich's assertion that collaborations between architects and artists could make the "invisible flow of data visible" triggered Anadol's imagination, and in 2008, he altered built space for the first time. Bringing a projector outside, he projected large-scale images onto a concrete to create the illusion of movement. Coining the term "data painting," the piece inspired Anadol to use light as material and data as pigment. In 2010 he created Quadrature with Alican Aktürk, a fellow graduate student, at the SantralIstanbul Art and Culture Center's main gallery building. A live audio-visual performance that examined the relationship between architecture and media, Quadrature used video projection techniques to manipulate footage of quadrilaterals. He followed Quadrature with Quadrangle at SANAA School of Design in Essen, Germany, using the entire 360 degrees of the building as a canvas. In 2011, he was invited to create a media installation at the Istanbul Biennial on the heavily trafficked İstiklal Avenue. He created a site-specific large-scale interpretation of sounds he recorded during different times of day, and used nine projectors to project reinterpreted images. The work was titled Augmented Structures v1.0. Anadol's first solo exhibition, Sceptical Interventions, was held at the Piveneli Gallery in Istanbul in early 2012. Later that year he moved to Los Angeles to attend UCLA's Design Media Arts program. The first place he went after his arrival was downtown Los Angeles. [6] === 2013–2016: Visions of America: Amériques, Infinity Room, Google AMI === In 2013, at Microsoft Research's annual Design Expo, Anadol presented his idea to use the external walls of Walt Disney Concert Hall as a canvas. His presentation brought him to the attention of Gehry Technologies, and with the support of Gehry and his team, Anadol was offered the use of the original 3D model of the concert hall. For his 2014 thesis project, with assistance from architects and UCLA researchers, he created a site-specific architectural video installation inside the concert hall that accompanied a Los Angeles Philharmonic performance of Edgard Varèse's Amérique. Titled Visions of America: Amériques, Anadol used algorithmic sound analysis to listen and respond to the music in real-time. He tracked conductor Esa-Pekka Salonen's heartbeat with a sensor and used a 3-D camera system to integrate Salonen's movements. He created Infinity Room at the Zorlu PSM for the 2015 Istanbul Biennial. Rather than creating an illusion only with mirrors, Anadol used pixel and 3D projection mapping to transform every surface of the room into an abstract infinite moving space. A temporary immersive environment, Infinity Room was also exhibited at events including South by Southwest in Austin, Texas, the New Zealand Festival in Wellington, New Zealand, and Jeffrey Deitch in Los Angeles. In 2016, Anadol was awarded the first Google Artists and Machine Intelligence Artist Residency; it was just after a team at Google opened up the algorithm for DeepDream, a computer vision program that prompted Anadol's realization that if a machine could learn, it could remember, dream, and hallucinate. === 2017–2018: Winds of Boston, Archive Dreaming, Melting Memories, WDCH Dreams === In 2017, he created the data painting Winds of Boston, a 6' x 13' foot video installation in the lobby of a Boston office building, using software he created to read, analyze and visualize wind speed, direction, and gust patterns along with time and temperature at 20-second intervals recorded over a one-year period at Logan International Airport. Later in the year, he used AI to generate infinite new outputs based on a massive dataset for Archive Dreaming, an immersive installation at Salt Research, a contemporary gallery and library in Istanbul. Inspired by his idea of consciousness and its context within AI, as well as Jorge Luis Borges' The Library of Babel, Anadol used AI and machine learning to look at and discover interactions and correlations between 1.7 million items culled from 40,000 publications covering Turkish contemporary and modern art, architecture, and economics from 1997 to 2010. Archive Dreaming, which could be controlled by users with a joystick, dreamed of unexpected correlations among documents when idle. In 2018, after his uncle was diagnosed with Alzheimer's, Anadol created Melting Memories. Working with scientists from the neuroscape laboratory at the University of California, San Francisco, he used academic data from the neuroscience archives and EEG scans of an anonymous Alzheimer's disease dataset to create AI-generated visuals related to memory, health, degeneration, and decay.Melting Memories was projected on the walls of Pilevneli Gallery; visitors to the exhibition could watch as millions of pixels reconstructed people's memories. Anadol won the Lumen Prize Gold Award for Melting Memories. Anadol was commissioned by the Los Angeles Philharmonic to create an installation to celebrate the orchestra's centennial anniversary in 2018. He worked with Google's Kenric MacDowell to create WDCH Dreams, using algorithmic visualizations of data to mimic the process of human dreaming. Projected across the exterior walls of Walt Disney Concert Hall using 42 large-scale projectors with 50K visual resolution, 8-channel sound, and 1.2M luminance, Anadol painted with data points culled from the orchestra's archives, including 587,763 images, 1,880 videos, 1,483 metadata files, and 17,773 audio files. Because Gehry gave him access to the 3D architectural files of Walt Disney Concert Hall, Anadol knew the exact contours of the building. WDCH Dreams debuted in September 2018. A 12-minute performance in three parts staged every 30 minutes over ten nights, "Centennial Memories,” the first piece, used 44.5 terabytes of historical data from the Phil's archives. It was followed by "Consciousness", which processed every note the orchestra has ever recorded, using billions of data points to generate connections; and "Dream," which merged "Centennial Memories" and "Consciousness" to create hallucinations that were described in the New York Times as "a sort of combinatorial Fantasia. === 2019–2021: Machine Hallucinations: NYC, Machine Hallucinations: Nature Dreams, Machine Memories: Space, Quantum Memories === In 2019, Refik Anadol presented Latent History at Fotografiska Stockholm. The site specific installation transformed photographic archives of Stockholm into a large scale, machine generated visual projection displayed in the museum’s main exhibition hall. Drawing on thousands of archival images spanning approximately 150 years, the work used artificial intelligence to reinterpret the city’s historical imagery as a continuously evolving visual narrative.. Anadol began thinking about the work that would become the Machine Hallucinations series while in residence at Google. In 2019, he completed the first work in the series, Machine Hallucinations: NYC, which used 300 million photos of New York City and 113 million additional data points, including subway sounds, ra

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  • Coherent extrapolated volition

    Coherent extrapolated volition

    Coherent extrapolated volition (CEV) is a theoretical framework in the field of AI alignment describing an approach by which an artificial superintelligence (ASI) would act on a benevolent supposition of what humans would want if they were more knowledgeable, more rational, had more time to think, and had matured together as a society, as opposed to humanity's current individual or collective preferences. It was proposed by Eliezer Yudkowsky in 2004 as part of his work on friendly AI. == Concept == CEV proposes that an advanced AI system should derive its goals by extrapolating the idealized volition of humanity. This means aggregating and projecting human preferences into a coherent utility function that reflects what people would desire under ideal epistemic and moral conditions. The aim is to ensure that AI systems are aligned with humanity's true interests, rather than with transient or poorly informed preferences. In poetic terms, our coherent extrapolated volition is our wish if we knew more, thought faster, were more the people we wished we were, had grown up farther together; where the extrapolation converges rather than diverges, where our wishes cohere rather than interfere; extrapolated as we wish that extrapolated, interpreted as we wish that interpreted. == Debate == Yudkowsky and Nick Bostrom note that CEV has several interesting properties. It is designed to be humane and self-correcting, by capturing the source of human values instead of trying to list them. It avoids the difficulty of laying down an explicit, fixed list of rules. It encapsulates moral growth, preventing flawed current moral beliefs from getting locked in. It limits the influence that a small group of programmers can have on what the ASI would value, thus also reducing the incentives to build ASI first. And it keeps humanity in charge of its destiny. CEV also faces significant theoretical and practical challenges. Bostrom notes that CEV has "a number of free parameters that could be specified in various ways, yielding different versions of the proposal." One such parameter is the extrapolation base (whose extrapolated volition is taken into account). For example, whether it should include people with severe dementia, patients in a vegetative state, foetuses, or embryos. He also notes that if CEV's extrapolation base only includes humans, there is a risk that the result would be ungenerous toward other animals and digital minds. One possible solution would be to include a mechanism to expand CEV's extrapolation base. == Variants and alternatives == A proposed theoretical alternative to CEV is to rely on an artificial superintelligence's superior cognitive capabilities to figure out what is morally right, and let it act accordingly. It is also possible to combine both techniques, for instance with the ASI following CEV except when it is morally impermissible. In another review, a philosophical analysis explores CEV through the lens of social trust in autonomous systems. Drawing on Anthony Giddens' concept of "active trust", the author proposes an evolution of CEV into "Coherent, Extrapolated and Clustered Volition" (CECV). This formulation aims to better reflect the moral preferences of diverse cultural groups, thus offering a more pragmatic ethical framework for designing AI systems that earn public trust while accommodating societal diversity.

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  • A Very Fatal Murder

    A Very Fatal Murder

    A Very Fatal Murder is a podcast produced by the satirical publication The Onion. A parody of true crime podcasts, A Very Fatal Murder is hosted by fictional New York City reporter David Pascall, who travels to the small town Bluff Springs, Nebraska to investigate the murder of prom queen Hayley Price. Pascall is voiced by David Sidorov, who also wrote for the podcast. The podcast premiered on January 23, 2018, and consists of 7 episodes. Season 2 was released in its entirety on May 11, 2019. == Production == A Very Fatal Murder satirizes popular true crime podcasts such as Serial, S-Town, and My Favorite Murder. According to head writer Katy Yeiser, the podcast is not meant as a take down of any particular podcast, but rather an ode to the genre. == Synopsis == The podcast follows fictional investigative reporter David Pascall (voiced by David Sidorov) who is searching for the perfect murder to create an award-winning podcast about. He is assisted by ETHL (the Extremely Timely Homicide Locator), an MIT-created computer programmed to find "the most interesting, violent, culturally relevant murder cases in America". == Episodes == === Season 1 === === Season 2 === == Reception == The podcast received mostly positive reviews, and was largely praised for attacking true-crime tropes such as the "hot dead girl" and the romanticization of small-town America. === Awards ===

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  • Oblivion (2013 film)

    Oblivion (2013 film)

    Oblivion is a 2013 American epic post-apocalyptic science fiction action film produced and directed by Joseph Kosinski from a screenplay by Karl Gajdusek and Michael deBruyn, starring Tom Cruise in the main role alongside Morgan Freeman, Olga Kurylenko, Andrea Riseborough, Nikolaj Coster-Waldau, and Melissa Leo in supporting roles. Based on Kosinski's unpublished Radical Comics graphic novel of the same name, the film pays homage to 1970s sci-fi, and is a "love story" set in 2077 on an Earth desolated by an alien war; a maintenance technician on the verge of completing his mission finds a woman who survived from a space ship crash, leading him to question his purpose and discover the truth about the war. Oblivion premiered in Buenos Aires on March 26, 2013, and was released in theaters by Universal Pictures on April 19. The film grossed $286 million worldwide on a production budget of $120 million and received mixed reviews from critics. == Plot == In 2017, aliens known as Scavengers attack Earth and destroy the Moon, triggering global natural disasters. Although humanity wins the war using nuclear weapons, Earth is left uninhabitable. Sixty years later, the remnants of humanity have relocated to a colony on Saturn's moon Titan, except for Unit 49—technician Jack and his communications officer Victoria—who are scheduled to join them in two weeks. The pair oversee hydro rigs that convert seawater into fusion energy for the Tet, the last remaining human colony ship in orbit. Though Jack and Victoria are romantically involved and have had their memories erased for security reasons, Jack experiences recurring dreams of an unknown woman. He also secretly visits a hidden, verdant valley where he has built a lakeside cabin and collects relics of Earth's past. While investigating a missing drone—autonomous, highly advanced, and heavily armed machines—Jack is nearly captured by Scavengers. Later, he discovers the Scavengers are transmitting a signal into space. A NASA pod crash-lands at the signal's coordinates, carrying five humans in suspended animation, including the woman from Jack's dreams. A drone arrives and destroys four of the pods, but Jack rescues the remaining one and brings the unconscious woman to Unit 49's base. After reviving her, Jack and Victoria learn that the woman, Julia, has been in stasis aboard the Odyssey spaceship since 2017. Julia insists on recovering the ship's flight recorder. However, she and Jack are captured by Scavengers and brought to the Raven Rock Mountain Complex. Their leader, Malcolm, reveals that the Scavengers are actually surviving humans. Malcolm needs Jack to reprogram a captured drone to deliver a nuclear bomb, built from Odyssey's reactor, to the Tet. Jack refuses, so Malcolm releases him and Julia, urging him to seek the truth in the radiation zone, which is supposedly deadly and off-limits. Julia helps Jack recall that she is his wife, and fragments of his memories begin to return. When they arrive back at Unit 49, a devastated Victoria informs Sally, the Tet's mission controller, that she and Jack are no longer an "effective team." A drone activates and kills Victoria. Jack and Julia destroy the drone, but crash their aircraft inside the radiation zone. There, they encounter another version of Jack—"Jack-52"—who arrives to repair the drone. Jack subdues him, but Julia is seriously injured in the fight. Jack impersonates his clone to infiltrate Unit 52, meets Victoria-52, and steals medical supplies for Julia. They rest at his cabin. At Raven Rock, Malcolm reveals the truth: humanity lost the war, and the Tet is an alien machine intelligence harvesting Earth's resources. After the Moon's destruction, the Tet deployed thousands of clones of astronaut Jack Harper—brainwashed into obedience—to exterminate the remaining humans. Malcolm had assumed these clones were inhuman until witnessing Jack show interest in a discarded book, hinting at lingering humanity. Jack reprograms the captured drone, but it is destroyed in a surprise attack by other drones, leaving Malcolm badly wounded. Jack and Julia resolve to deliver the bomb themselves; Julia enters a stasis pod. En route, Jack listens to the Odyssey's flight recorder, which reveals the original Jack Harper and Victoria were astronauts sent to explore Titan before being confronted by the Tet. The pair were captured, but not before Jack ejected the remaining crew—including Julia—in stasis pods to protect them. Jack gains access to the Tet by claiming he is delivering Julia, as previously instructed. However, the stasis pod contains a dying Malcolm. Jack and Malcolm detonate the bomb, destroying the Tet and themselves. Julia later awakens at the cabin. Three years later, Julia lives there and it is revealed she had a daughter with Jack. A group of Raven Rock survivors arrives, alongside Jack-52, who has begun regaining fragments of his own lost identity. == Cast == Tom Cruise as Jack Harper—Tech 49, a technician who works to repair drones on Earth and questions his mission. Originally, he was the American commander of a mission en route to Titan who was captured by the Tet and cloned to fight humanity. Cruise also plays Jack Harper—Tech 52, a clone who seeks out Julia after the destruction of the Tet. Morgan Freeman as Malcolm Beech, an American veteran soldier and leader of a large community of scavengers, the human survivors of the alien Tet's attacks. Olga Kurylenko as Julia Rusakova Harper, Jack's wife and a Russian crew member on the Odyssey, who was sent back towards Earth by her husband to protect her from the initial contact with the Tet. Andrea Riseborough as Victoria "Vika" Olsen, Jack's communications partner and housemate. Originally, she was the British co-pilot of Jack's mission to Titan who was captured and cloned to assist in the Tet's war on humanity. Riseborough also plays a clone of Vika who Jack misleads to obtain medical supplies. Nikolaj Coster-Waldau as Sergeant Sykes, the main military commander of Beech's community of scavengers who is skeptical of Jack at first. Melissa Leo as the Tet, an alien artificial intelligence seeking to acquire Earth's natural resources and wipe out humanity. Leo also plays Sally, the mission director of Jack and Julia's mission to Titan; her likeness was copied by the Tet to serve as its visual and auditory representation. Zoë Bell as Kara, a soldier and member of the scavengers. == Production == === Development === Joseph Kosinski started the movie process by beginning work on a graphic novel called Oblivion featuring his story. While the completion of this would be teased to the public and the concept was used to pitch the movie, it was never finished and Kosinski claims he never intended to, stating it was "just a stage in the project [of film development]". Arvid Nelson was billed as co-writer and Radical Comics was attached as publisher. The novel was never finished; Kosinski explaining: "the partnership with Radical Comics allowed me to continue working on the story by developing a series of images and continuing to refine the story more over a period of years. Then I basically used all that development as a pitch kit to the studio. So even though we really never released it as an illustrated novel the story is being told as a film, which was always the intention." Walt Disney Pictures, which produced Kosinski's previous film Tron: Legacy (2010), acquired the Oblivion film adaptation rights from Radical Comics and Kosinski after a heated auction in August 2010. The film was a directing vehicle for Kosinski, with Barry Levine producing, and Jesse Berger executive producing. Other studios that made bids on the film were Paramount Pictures, 20th Century Fox, and Universal Pictures. Disney subsequently released the rights after realizing the PG-rated film they envisioned, in line with their family-oriented reputation, would require too many story changes. Universal, which had also bid for the original rights, then bought them from Kosinski and Radical and authorized a PG-13 film version. The film's script was originally written by Kosinski and William Monahan and underwent a first rewrite by Karl Gajdusek. When the film passed into Universal's hands, a final rewrite was done by Michael Arndt, under the pen name "Michael deBruyn". Universal was particularly appreciative of the script, saying, "It's one of the most beautiful scripts we've ever come across." The Bubble Ship operated by Cruise's main character, Jack 49, was inspired by the Bell 47 helicopter (often colloquially referred to as a "bubble cockpit" helicopter), a utilitarian 1947 vehicle with a transparent round canopy that Kosinski saw in the lobby of the Museum of Modern Art in Manhattan, and which he likened to a dragonfly. Daniel Simon, who previously worked with Kosinski as the lead vehicle designer on Tron: Legacy, was tasked with creating the Bubble Ship from this basis, incorporating elements evocative of an advanced fighter

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  • Blocks world

    Blocks world

    The blocks world is a planning domain in artificial intelligence. It consists of a set of wooden blocks of various shapes and colors sitting on a table. The goal is to build one or more vertical stacks of blocks. Only one block may be moved at a time: it may either be placed on the table or placed atop another block. Because of this, any blocks that are, at a given time, under another block cannot be moved. Moreover, some kinds of blocks cannot have other blocks stacked on top of them. The simplicity of this toy world lends itself readily to classical symbolic artificial intelligence approaches, in which the world is modeled as a set of abstract symbols which may be reasoned about. == Motivation == Artificial Intelligence can be researched in theory and with practical applications. The problem with most practical applications is that the engineers don't know how to program an AI system. Instead of rejecting the challenge at all the idea is to invent an easy to solve domain which is called a toy problem. Toy problems were invented with the aim to program an AI which can solve it. The blocks world domain is an example of a toy problem. Its major advantage over more realistic AI applications is that many algorithms and software programs are available which can handle the situation. This allows comparing different theories against each other. In its basic form, the blocks world problem consists of cubes of the same size which have all the color black. A mechanical robot arm has to pick and place the cubes. More complicated derivatives of the problem consist of cubes of different sizes, shapes and colors. From an algorithmic perspective, blocks world is an NP-hard search and planning problem. The task is to bring the system from an initial state into a goal state. Automated planning and scheduling problems are usually described in the Planning Domain Definition Language (PDDL) notation which is an AI planning language for symbolic manipulation tasks. If something was formulated in the PDDL notation, it is called a domain. Therefore, the task of stacking blocks is a blocks world domain which stands in contrast to other planning problems like the dock worker robot domain and the monkey and banana problem. == Theses/projects which took place in a blocks world == Terry Winograd's SHRDLU Patrick Winston's Learning Structural Descriptions from Examples and Copy Demo Gerald Jay Sussman's Sussman anomaly Decision problem (Gupta and Nau, 1992): Given a starting Blocks World, an ending Blocks World, and an integer L > 0, is there a way to move the blocks to change the starting position to the ending position with L or less steps? This decision problem is NP-hard.

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  • A Logical Calculus of the Ideas Immanent in Nervous Activity

    A Logical Calculus of the Ideas Immanent in Nervous Activity

    "A Logical Calculus of the Ideas Immanent in Nervous Activity" is a 1943 paper written by Warren Sturgis McCulloch and Walter Pitts, published in the journal The Bulletin of Mathematical Biophysics. The paper proposed a mathematical model of the nervous system as a network of simple logical elements, later known as artificial neurons, or McCulloch–Pitts neurons. These neurons receive inputs, perform a weighted sum, and fire an output signal based on a threshold function. By connecting these units in various configurations, McCulloch and Pitts demonstrated that their model could perform all logical functions. It is a seminal work in cognitive science, computational neuroscience, computer science, and artificial intelligence. It was a foundational result in automata theory. John von Neumann cited it as a significant result. == Mathematics == The artificial neuron used in the original paper is slightly different from the modern version. They considered neural networks that operate in discrete steps of time t = 0 , 1 , … {\displaystyle t=0,1,\dots } . The neural network contains a number of neurons. Let the state of a neuron i {\displaystyle i} at time t {\displaystyle t} be N i ( t ) {\displaystyle N_{i}(t)} . The state of a neuron can either be 0 or 1, standing for "not firing" and "firing". Each neuron also has a firing threshold θ {\displaystyle \theta } , such that it fires if the total input exceeds the threshold. Each neuron can connect to any other neuron (including itself) with positive synapses (excitatory) or negative synapses (inhibitory). That is, each neuron can connect to another neuron with a weight w {\displaystyle w} taking an integer value. A peripheral afferent is a neuron with no incoming synapses. We can regard each neural network as a directed graph, with the nodes being the neurons, and the directed edges being the synapses. A neural network has a circle or a circuit if there exists a directed circle in the graph. Let w i j ( t ) {\displaystyle w_{ij}(t)} be the connection weight from neuron j {\displaystyle j} to neuron i {\displaystyle i} at time t {\displaystyle t} , then its next state is N i ( t + 1 ) = H ( ∑ j = 1 n w i j ( t ) N j ( t ) − θ i ( t ) ) , {\displaystyle N_{i}(t+1)=H\left(\sum _{j=1}^{n}w_{ij}(t)N_{j}(t)-\theta _{i}(t)\right),} where H {\displaystyle H} is the Heaviside step function (outputting 1 if the input is greater than or equal to 0, and 0 otherwise). === Symbolic logic === The paper used, as a logical language for describing neural networks, "Language II" from The Logical Syntax of Language by Rudolf Carnap with some notations taken from Principia Mathematica by Alfred North Whitehead and Bertrand Russell. Language II covers substantial parts of classical mathematics, including real analysis and portions of set theory. To describe a neural network with peripheral afferents N 1 , N 2 , … , N p {\displaystyle N_{1},N_{2},\dots ,N_{p}} and non-peripheral afferents N p + 1 , N p + 2 , … , N n {\displaystyle N_{p+1},N_{p+2},\dots ,N_{n}} they considered logical predicate of form P r ( N 1 , N 2 , … , N p , t ) {\displaystyle Pr(N_{1},N_{2},\dots ,N_{p},t)} where P r {\displaystyle Pr} is a first-order logic predicate function (a function that outputs a boolean), N 1 , … , N p {\displaystyle N_{1},\dots ,N_{p}} are predicates that take t {\displaystyle t} as an argument, and t {\displaystyle t} is the only free variable in the predicate. Intuitively speaking, N 1 , … , N p {\displaystyle N_{1},\dots ,N_{p}} specifies the binary input patterns going into the neural network over all time, and P r ( N 1 , N 2 , … , N n , t ) {\displaystyle Pr(N_{1},N_{2},\dots ,N_{n},t)} is a function that takes some binary input patterns, and constructs an output binary pattern P r ( N 1 , N 2 , … , N n , 0 ) , P r ( N 1 , N 2 , … , N n , 1 ) , … {\displaystyle Pr(N_{1},N_{2},\dots ,N_{n},0),Pr(N_{1},N_{2},\dots ,N_{n},1),\dots } . A logical sentence P r ( N 1 , N 2 , … , N n , t ) {\displaystyle Pr(N_{1},N_{2},\dots ,N_{n},t)} is realized by a neural network iff there exists a time-delay T ≥ 0 {\displaystyle T\geq 0} , a neuron i {\displaystyle i} in the network, and an initial state for the non-peripheral neurons N p + 1 ( 0 ) , … , N n ( 0 ) {\displaystyle N_{p+1}(0),\dots ,N_{n}(0)} , such that for any time t {\displaystyle t} , the truth-value of the logical sentence is equal to the state of the neuron i {\displaystyle i} at time t + T {\displaystyle t+T} . That is, ∀ t = 0 , 1 , 2 , … , P r ( N 1 , N 2 , … , N p , t ) = N i ( t + T ) {\displaystyle \forall t=0,1,2,\dots ,\quad Pr(N_{1},N_{2},\dots ,N_{p},t)=N_{i}(t+T)} === Equivalence === In the paper, they considered some alternative definitions of artificial neural networks, and have shown them to be equivalent, that is, neural networks under one definition realizes precisely the same logical sentences as neural networks under another definition. They considered three forms of inhibition: relative inhibition, absolute inhibition, and extinction. The definition above is relative inhibition. By "absolute inhibition" they meant that if any negative synapse fires, then the neuron will not fire. By "extinction" they meant that if at time t {\displaystyle t} , any inhibitory synapse fires on a neuron i {\displaystyle i} , then θ i ( t + j ) = θ i ( 0 ) + b j {\displaystyle \theta _{i}(t+j)=\theta _{i}(0)+b_{j}} for j = 1 , 2 , 3 , … {\displaystyle j=1,2,3,\dots } , until the next time an inhibitory synapse fires on i {\displaystyle i} . It is required that b j = 0 {\displaystyle b_{j}=0} for all large j {\displaystyle j} . Theorem 4 and 5 state that these are equivalent. They considered three forms of excitation: spatial summation, temporal summation, and facilitation. The definition above is spatial summation (which they pictured as having multiple synapses placed close together, so that the effect of their firing sums up). By "temporal summation" they meant that the total incoming signal is ∑ τ = 0 T ∑ j = 1 n w i j ( t ) N j ( t − τ ) {\displaystyle \sum _{\tau =0}^{T}\sum _{j=1}^{n}w_{ij}(t)N_{j}(t-\tau )} for some T ≥ 1 {\displaystyle T\geq 1} . By "facilitation" they meant the same as extinction, except that b j ≤ 0 {\displaystyle b_{j}\leq 0} . Theorem 6 states that these are equivalent. They considered neural networks that do not change, and those that change by Hebbian learning. That is, they assume that at t = 0 {\displaystyle t=0} , some excitatory synaptic connections are not active. If at any t {\displaystyle t} , both N i ( t ) = 1 , N j ( t ) = 1 {\displaystyle N_{i}(t)=1,N_{j}(t)=1} , then any latent excitatory synapse between i , j {\displaystyle i,j} becomes active. Theorem 7 states that these are equivalent. === Logical expressivity === They considered "temporal propositional expressions" (TPE), which are propositional formulas with one free variable t {\displaystyle t} . For example, N 1 ( t ) ∨ N 2 ( t ) ∧ ¬ N 3 ( t ) {\displaystyle N_{1}(t)\vee N_{2}(t)\wedge \neg N_{3}(t)} is such an expression. Theorem 1 and 2 together showed that neural nets without circles are equivalent to TPE. For neural nets with loops, they noted that "realizable P r {\displaystyle Pr} may involve reference to past events of an indefinite degree of remoteness". These then encodes for sentences like "There was some x such that x was a ψ" or ( ∃ x ) ( ψ x ) {\displaystyle (\exists x)(\psi x)} . Theorems 8 to 10 showed that neural nets with loops can encode all first-order logic with equality and conversely, any looped neural networks is equivalent to a sentence in first-order logic with equality, thus showing that they are equivalent in logical expressiveness. As a remark, they noted that a neural network, if furnished with a tape, scanners, and write-heads, is equivalent to a Turing machine, and conversely, every Turing machine is equivalent to some such neural network. Thus, these neural networks are equivalent to Turing computability and Church's lambda-definability. == Context == === Previous work === The paper built upon several previous strands of work. In the symbolic logic side, it built on the previous work by Carnap, Whitehead, and Russell. This was contributed by Walter Pitts, who had a strong proficiency with symbolic logic. Pitts provided mathematical and logical rigor to McCulloch’s vague ideas on psychons (atoms of psychological events) and circular causality. In the neuroscience side, it built on previous work by the mathematical biology research group centered around Nicolas Rashevsky, of which McCulloch was a member. The paper was published in the Bulletin of Mathematical Biophysics, which was founded by Rashevsky in 1939. During the late 1930s, Rashevsky's research group was producing papers that had difficulty publishing in other journals at the time, so Rashevsky decided to found a new journal exclusively devoted to mathematical biophysics. Also in the Rashevsky's group was Alston Scott Householder, who in 1941 published an abstract model

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  • AI-assisted targeting in the Gaza Strip

    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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  • Content-based image retrieval

    Content-based image retrieval

    Content-based image retrieval, also known as query by image content (QBIC) and content-based visual information retrieval (CBVIR), is the application of computer vision techniques to the image retrieval problem, that is, the problem of searching for digital images in large databases (see this survey for a scientific overview of the CBIR field). Content-based image retrieval is opposed to traditional concept-based approaches (see Concept-based image indexing). "Content-based" means that the search analyzes the contents of the image rather than the metadata such as keywords, tags, or descriptions associated with the image. The term "content" in this context might refer to colors, shapes, textures, or any other information that can be derived from the image itself. CBIR is desirable because searches that rely purely on metadata are dependent on annotation quality and completeness. == Comparison with metadata searching == An image meta search requires humans to have manually annotated images by entering keywords or metadata in a large database, which can be time-consuming and may not capture the keywords desired to describe the image. The evaluation of the effectiveness of keyword image search is subjective and has not been well-defined. In the same regard, CBIR systems have similar challenges in defining success. "Keywords also limit the scope of queries to the set of predetermined criteria." and, "having been set up" are less reliable than using the content itself. == History == The term "content-based image retrieval" seems to have originated in 1992 when it was used by Japanese Electrotechnical Laboratory engineer Toshikazu Kato to describe experiments into automatic retrieval of images from a database, based on the colors and shapes present. Since then, the term has been used to describe the process of retrieving desired images from a large collection on the basis of syntactical image features. The techniques, tools, and algorithms that are used originate from fields such as statistics, pattern recognition, signal processing, and computer vision. === QBIC - Query By Image Content === The earliest commercial CBIR system was developed by IBM and was called QBIC (Query By Image Content). Recent network- and graph-based approaches have presented a simple and attractive alternative to existing methods. While the storing of multiple images as part of a single entity preceded the term BLOB (Binary Large OBject), the ability to fully search by content, rather than by description, had to await IBM's QBIC. === VisualRank === == Technical progress == The interest in CBIR has grown because of the limitations inherent in metadata-based systems, as well as the large range of possible uses for efficient image retrieval. Textual information about images can be easily searched using existing technology, but this requires humans to manually describe each image in the database. This can be impractical for very large databases or for images that are generated automatically, e.g. those from surveillance cameras. It is also possible to miss images that use different synonyms in their descriptions. Systems based on categorizing images in semantic classes like "cat" as a subclass of "animal" can avoid the miscategorization problem, but will require more effort by a user to find images that might be "cats", but are only classified as an "animal". Many standards have been developed to categorize images, but all still face scaling and miscategorization issues. Initial CBIR systems were developed to search databases based on image color, texture, and shape properties. After these systems were developed, the need for user-friendly interfaces became apparent. Therefore, efforts in the CBIR field started to include human-centered design that tried to meet the needs of the user performing the search. This typically means inclusion of: query methods that may allow descriptive semantics, queries that may involve user feedback, systems that may include machine learning, and systems that may understand user satisfaction levels. == Techniques == Many CBIR systems have been developed, but as of 2006, the problem of retrieving images on the basis of their pixel content remains largely unsolved. Different query techniques and implementations of CBIR make use of different types of user queries. === Query By Example === QBE (Query By Example) is a query technique that involves providing the CBIR system with an example image that it will then base its search upon. The underlying search algorithms may vary depending on the application, but result images should all share common elements with the provided example. Options for providing example images to the system include: A preexisting image may be supplied by the user or chosen from a random set. The user draws a rough approximation of the image they are looking for, for example with blobs of color or general shapes. This query technique removes the difficulties that can arise when trying to describe images with words. === Semantic retrieval === Semantic retrieval starts with a user making a request like "find pictures of Abraham Lincoln". This type of open-ended task is very difficult for computers to perform - Lincoln may not always be facing the camera or in the same pose. Many CBIR systems therefore generally make use of lower-level features like texture, color, and shape. These features are either used in combination with interfaces that allow easier input of the criteria or with databases that have already been trained to match features (such as faces, fingerprints, or shape matching). However, in general, image retrieval requires human feedback in order to identify higher-level concepts. === Relevance feedback (human interaction) === Combining CBIR search techniques available with the wide range of potential users and their intent can be a difficult task. An aspect of making CBIR successful relies entirely on the ability to understand the user intent. CBIR systems can make use of relevance feedback, where the user progressively refines the search results by marking images in the results as "relevant", "not relevant", or "neutral" to the search query, then repeating the search with the new information. Examples of this type of interface have been developed. === Iterative/machine learning === Machine learning and application of iterative techniques are becoming more common in CBIR. === Other query methods === Other query methods include browsing for example images, navigating customized/hierarchical categories, querying by image region (rather than the entire image), querying by multiple example images, querying by visual sketch, querying by direct specification of image features, and multimodal queries (e.g. combining touch, voice, etc.) == Content comparison using image distance measures == The most common method for comparing two images in content-based image retrieval (typically an example image and an image from the database) is using an image distance measure. An image distance measure compares the similarity of two images in various dimensions such as color, texture, shape, and others. For example, a distance of 0 signifies an exact match with the query, with respect to the dimensions that were considered. As one may intuitively gather, a value greater than 0 indicates various degrees of similarities between the images. Search results then can be sorted based on their distance to the queried image. Many measures of image distance (Similarity Models) have been developed. === Color === Computing distance measures based on color similarity is achieved by computing a color histogram for each image that identifies the proportion of pixels within an image holding specific values. Examining images based on the colors they contain is one of the most widely used techniques because it can be completed without regard to image size or orientation. However, research has also attempted to segment color proportion by region and by spatial relationship among several color regions. === Texture === Texture measures look for visual patterns in images and how they are spatially defined. Textures are represented by texels which are then placed into a number of sets, depending on how many textures are detected in the image. These sets not only define the texture, but also where in the image the texture is located. Texture is a difficult concept to represent. The identification of specific textures in an image is achieved primarily by modeling texture as a two-dimensional gray level variation. The relative brightness of pairs of pixels is computed such that degree of contrast, regularity, coarseness and directionality may be estimated. The problem is in identifying patterns of co-pixel variation and associating them with particular classes of textures such as silky, or rough. Other methods of classifying textures include: Co-occurrence matrix Laws texture energy Wavelet transform Orthogonal transforms (discrete Chebyshev moments) =

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