AI Code Fixer

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

  • Decorrelation

    Decorrelation

    Decorrelation is a general term for any process that is used to reduce autocorrelation within a signal, or cross-correlation within a set of signals, while preserving other aspects of the signal. A frequently used method of decorrelation is the use of a matched linear filter to reduce the autocorrelation of a signal as far as possible. Since the minimum possible autocorrelation for a given signal energy is achieved by equalising the power spectrum of the signal to be similar to that of a white noise signal, this is often referred to as signal whitening. == Process == === Signal processing === Most decorrelation algorithms are linear, but there are also non-linear decorrelation algorithms. Many data compression algorithms incorporate a decorrelation stage. For example, many transform coders first apply a fixed linear transformation that would, on average, have the effect of decorrelating a typical signal of the class to be coded, prior to any later processing. This is typically a Karhunen–Loève transform, or a simplified approximation such as the discrete cosine transform. By comparison, sub-band coders do not generally have an explicit decorrelation step, but instead exploit the already-existing reduced correlation within each of the sub-bands of the signal, due to the relative flatness of each sub-band of the power spectrum in many classes of signals. Linear predictive coders can be modelled as an attempt to decorrelate signals by subtracting the best possible linear prediction from the input signal, leaving a whitened residual signal. Decorrelation techniques can also be used for many other purposes, such as reducing crosstalk in a multi-channel signal, or in the design of echo cancellers. In image processing decorrelation techniques can be used to enhance or stretch, colour differences found in each pixel of an image. This is generally termed as 'decorrelation stretching'. === Neuroscience === In neuroscience, decorrelation is used in the analysis of the neural networks in the human visual system. The raw inputs from cone cells and rod cells under go many steps of processing before it is handled by the visual cortex. These steps generally perform decorrelation, both spatial (surround suppression in the retina) and temporal (handling of movement in the lateral geniculate nucleus). === Cryptography === In cryptography, decorrelation is used in cipher design (see Decorrelation theory) and in the design of hardware random number generators.

    Read more →
  • Global Artificial Intelligence Summit & Awards

    Global Artificial Intelligence Summit & Awards

    The Global Artificial Intelligence Summit & Awards (GAISA) is an international conference on Artificial Intelligence organized annually by AICRA. Since its inception in 2019, GAISA has been held at various locations each year. The 5th Edition of GAISA will be Scheduled on April 11-12, 2024, at Bharat Mandapam. GAISA 2025 features a distinguished lineup of speakers, including leading experts, researchers, and executives from top global tech companies. These thought leaders are at the forefront of AI innovation, with deep expertise in areas such as machine learning, robotics, and ethical AI. Their diverse backgrounds span academia, industry, and entrepreneurship, offering unique insights into how AI is reshaping sectors like healthcare, finance, transportation, and more. Attendees can expect thought-provoking discussions on the future of AI, its societal impact, and the transformative potential of emerging technologies in solving complex global challenges Few Speakers are listed below:- Shri Nitin Gadkari, Rao Inderjit Singh, Piyush Goyal, Admiral R Hari Kumar PVSM, AVSM, ADC, Samir V Kamat, Narayan Tatu Rane, Prof. K. Vijay Raghavan and many others. == History == The conference was launched first in 2019 as Vigyan Bhawan New Delhi by AICRA with an objective of discussion and exploring artificial intelligence in engrossed sectors.

    Read more →
  • Terminator (franchise)

    Terminator (franchise)

    Terminator is an American media franchise created by James Cameron and Gale Anne Hurd. It is considered to be of the cyberpunk subgenre of science fiction. The franchise primarily focuses on the events leading to a future post-apocalyptic war between a synthetic intelligence known as Skynet, and a surviving resistance of humans led by John Connor. In this future, Skynet uses an arsenal of cyborgs known as Terminators, designed to mimic humans and infiltrate the resistance. Much of the franchise takes place in time periods prior to the Skynet takeover, with both humans and Terminators using time travel to attempt to alter the past and change the outcome of the future. A prominent Terminator model throughout the films is the T-800, commonly known as "the Terminator", with instances of this model portrayed by Arnold Schwarzenegger. The franchise began with the 1984 film The Terminator, written and directed by Cameron, with Hurd as producer. They would return for the 1991 sequel Terminator 2: Judgment Day (or T2). Both films were critical and commercial successes. Terminator 3: Rise of the Machines (or T3) was released in 2003 to positive reviews, followed by Terminator Salvation in 2009 to more negative reviews. Salvation was intended as the first in a new trilogy, which was later scrapped after the film rights were sold. Cameron was consulted for the 2015 film Terminator Genisys, a reboot branching off from the timeline of the original film. It was negatively received and performed poorly at the box-office. Cameron had a larger role as a producer of the 2019 film Terminator: Dark Fate, a direct sequel to T2 that ignores the three preceding films. As with Salvation, both Genisys and Dark Fate were planned as first installments of new trilogies, with the plans scrapped each time due to the films' poor box-office performances. Outside of the theatrical films, Cameron co-directed T2-3D: Battle Across Time, a 1996 theme park film-based attraction. It was produced as the original sequel to T2 and reunited its main cast. A television series, Terminator: The Sarah Connor Chronicles, was developed without Cameron's involvement and aired for two seasons in 2008 and 2009. It was also produced as a T2 sequel, taking place in an alternate timeline that ignores the third film and subsequent events. Terminator Zero, an anime series, premiered in August 2024. The franchise has also inspired several lines of comic books since 1988, and numerous video games since 1991. By 2010, the franchise had generated $3 billion in revenue. == Themes and setting == The central theme of the franchise is the battle for survival between the nearly-extinct human race and the world-spanning, synthetic intelligence that is Skynet. Skynet is positioned in the first film, The Terminator (1984), as a U.S. strategic "Global Digital Defense Network" computer system by Cyberdyne Systems which becomes self-aware. Shortly after activation, Skynet seemingly perceives all humans as a threat to its existence and formulates a plan to systematically wipe out humanity itself. The system initiates a nuclear first strike against Russia, thereby ensuring a devastating second strike and a nuclear holocaust which wipes out much of humanity in the resulting nuclear war. In the post-apocalyptic aftermath, Skynet later builds up its own autonomous machine-based military capability which includes the Terminators used against individual human targets and thereafter proceeds to wage a persistent total war against the surviving elements of humanity, some of whom have militarily organized themselves into a Resistance. At some point in this future, Skynet develops the capability of time travel and both it and the Resistance seek to use this technology in order to win the war; either by altering or accelerating past events or by preventing the apocalyptic timeline. === Judgment Day === In the franchise, Judgment Day (a reference to the biblical Day of Judgment) is the date on which Skynet becomes self-aware, in which case its creators panic and attempt to deactivate the network. As a result, Skynet perceives humanity as a threat and attempts to exterminate them. Skynet launches an all-out nuclear attack on Russia in order to provoke a nuclear counter-strike against the United States, knowing this will eliminate its human enemies. Due to time travel and the consequent ability to change the future, several differing dates are given for Judgment Day. In Terminator 2: Judgment Day (1991), Sarah Connor states that Judgment Day will occur on August 29, 1997. However, this date is delayed following the attack on Cyberdyne Systems in the same film. Judgment Day has various different dates in different timelines of the subsequent films, as well as the television series, creating a multiverse of temporal phenomena. In Terminator 3: Rise of the Machines (2003) and Terminator Salvation (2009), Judgment Day was postponed to July 2003. In Terminator: The Sarah Connor Chronicles (2008–2009), the attack on Cyberdyne Systems in the second film delayed Judgment Day to April 21, 2011. In Terminator Genisys (2015), the fifth film in the franchise, Judgment Day was postponed to an unspecified day in October 2017, attributed to altered events in both the future and the past. Sarah and Kyle Reese travel through time to the year 2017 and seemingly defeat Skynet, but the system core, contained inside a subterranean blast shelter, survives unknown to them, thus further delaying, rather than preventing, Judgment Day. In Terminator: Dark Fate (2019), the direct sequel to Terminator 2: Judgment Day, a date is not given for the new Judgment Day though it is named as such by Grace. Since Grace is a ten-year-old in 2020 and shown as a teenager in the post-Judgment Day world in flash-forwards throughout the film, Judgment Day occurs sometime in the early 2020s in this timeline. == Franchise rights == Before the first film was created, director James Cameron sold the rights for $1 to Gale Anne Hurd, his future wife, who produced the film, under the strict provision that he be allowed to direct it. Hemdale Film Corporation also became a 50-percent owner of the franchise rights, until its share was sold in 1990 to Carolco Pictures, a company founded by Andrew G. Vajna and Mario Kassar. Terminator 2: Judgment Day was released a year later. Carolco filed for bankruptcy in 1995 and its library was subsequently acquired by StudioCanal, which continues to own the franchise today. However, the rights to future Terminator films were ultimately put up for auction. By that time, Cameron had become interested in making a Terminator 3 film. The rights were ultimately auctioned to Vajna in 1997, for $8 million. Vajna and Kassar spent another $8 million to purchase Hurd's half of the rights in 1998, becoming the full owners of the franchise. Hurd was initially opposed to the sale of the rights, while Cameron had lost interest in the franchise and a third film. After the 2003 release of Terminator 3: Rise of the Machines, the franchise rights were sold in 2007 for about $25 million to The Halcyon Company, which produced Terminator Salvation in 2009. Later that year, the company faced legal issues and filed for bankruptcy, putting the franchise rights up for sale. The rights were valued at about $70 million. In 2010, the rights were sold for $29.5 million to Pacificor, a hedge fund that was Halcyon's largest creditor. In 2012, the rights were sold to Megan Ellison and her production company Annapurna Pictures for less than $20 million, a lower price than what was previously offered. The low price was because of the possibility of Cameron regaining the rights in 2019, as a result of new North American copyright laws. Megan's brother David Ellison and Skydance Productions produced Terminator Genisys in 2015. Cameron worked together with David Ellison to produce the 2019 film Terminator: Dark Fate. As the film neared its release, Hurd filed to terminate a copyright grant made 35 years earlier. Under this move, Hurd would again become a 50-percent owner of the rights with Cameron and Skydance could lose the rights to make any additional Terminator films beginning in November 2020, unless a new deal is worked out. Skydance responded that it had a deal in place with Cameron and that it "controls the rights to the Terminator franchise for the foreseeable future". == Films == === The Terminator (1984) === The Terminator is a 1984 science fiction action film released by Orion Pictures, co-written and directed by James Cameron and starring Arnold Schwarzenegger, Linda Hamilton and Michael Biehn. It is the first work in the Terminator franchise. In the film, robots take over the world in the near future, directed by the artificial intelligence Skynet. With its sole mission to completely annihilate humanity, it develops android assassins called Terminators that outwardly appear human. A man named John Connor starts the Tech-Com resistance to fight the machi

    Read more →
  • 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.

    Read more →
  • Percept (artificial intelligence)

    Percept (artificial intelligence)

    A percept is the input that an intelligent agent is perceiving at any given moment. It is essentially the same concept as a percept in psychology, except that it is being perceived not by the brain but by the agent. A percept is detected by a sensor, often a camera, processed accordingly, and acted upon by an actuator. Each percept is added to a "percept sequence", which is a complete history of each percept ever detected. The agent's action at any instant point may depend on the entire percept sequence up to that particular instant point. An intelligent agent chooses how to act not only based on the current percept, but the percept sequence. The next action is chosen by the agent function, which maps every percept to an action. For example, if a camera were to record a gesture, the agent would process the percepts, calculate the corresponding spatial vectors, examine its percept history, and use the agent program (the application of the agent function) to act accordingly. == Examples == Examples of percepts include inputs from touch sensors, cameras, infrared sensors, sonar, microphones, mice, and keyboards. A percept can also be a higher-level feature of the data, such as lines, depth, objects, faces, or gestures.

    Read more →
  • Computing Machinery and Intelligence

    Computing Machinery and Intelligence

    "Computing Machinery and Intelligence" is a paper written by Alan Turing on the topic of artificial intelligence. The paper, published in 1950 in Mind, was the first to introduce his concept of what is now known as the Turing test to the general public. Turing's paper considers the question "Can machines think?" Turing says that since the words "think" and "machine" cannot clearly be defined, we should "replace the question by another, which is closely related to it and is expressed in relatively unambiguous words." To achieve this objective, Turing proposes a three-step approach. First, he identifies a simple and unambiguous concept to substitute for the term "think." Second, he delineates the specific "machines" under consideration. Third, armed with these tools, he poses a new question related to the first, which he believes he can answer in the affirmative. == Turing's test == Rather than trying to determine if a machine is thinking, Turing suggests we should ask if the machine can win a game, called the "Imitation Game". The original Imitation game, that Turing described, is a simple party game involving three players. Player A is a man, player B is a woman and player C (who plays the role of the interrogator) can be of either sex. In the Imitation Game, player C is unable to see either player A or player B (and knows them only as X and Y), and can communicate with them only through written notes or any other form that does not give away any details about their gender. By asking questions of player A and player B, player C tries to determine which of the two is the man and which is the woman. Player A's role is to trick the interrogator into making the wrong decision, while player B attempts to assist the interrogator in making the right one. Turing proposes a variation of this game that involves the computer: We now ask the question, "What will happen when a machine takes the part of A in this game?" Will the interrogator decide wrongly as often when the game is played like this as he does when the game is played between a man and a woman? These questions replace our original, "Can machines think?" So the modified game becomes one that involves three participants in isolated rooms: a computer (which is being tested), a human, and a (human) judge. The human judge can converse with both the human and the computer by typing into a terminal. Both the computer and the human try to convince the judge that they are the human. If the judge cannot consistently tell which is which, then the computer wins the game. Researchers in the United Kingdom had been exploring "machine intelligence" for up to ten years prior to the founding of the field of artificial intelligence (AI) research in 1956. It was a common topic among the members of the Ratio Club, an informal group of British cybernetics and electronics researchers that included Alan Turing. Turing, in particular, had been running the notion of machine intelligence since at least 1941 and one of the earliest-known mentions of "computer intelligence" was made by him in 1947. As Stevan Harnad notes, the question has become "Can machines do what we (as thinking entities) can do?" In other words, Turing is no longer asking whether a machine can "think"; he is asking whether a machine can act indistinguishably from the way a thinker acts. This question avoids the difficult philosophical problem of pre-defining the verb "to think" and focuses instead on the performance capacities that being able to think makes possible, and how a causal system can generate them. Since Turing introduced his test, it has been both highly influential and widely criticised, and has become an important concept in the philosophy of artificial intelligence. Some of its criticisms, such as John Searle's Chinese room, are themselves controversial. Some have taken Turing's question to have been "Can a computer, communicating over a teleprinter, fool a person into believing it is human?" but it seems clear that Turing was not talking about fooling people but about generating human cognitive capacity. == Digital machines == Turing also notes that we need to determine which "machines" we wish to consider. He points out that a human clone, while man-made, would not provide a very interesting example. Turing suggested that we should focus on the capabilities of digital machinery—machines which manipulate the binary digits of 1 and 0, rewriting them into memory using simple rules. He gave two reasons. First, there is no reason to speculate whether or not they can exist. They already did in 1950. Second, digital machinery is "universal". Turing's research into the foundations of computation had proved that a digital computer can, in theory, simulate the behaviour of any other digital machine, given enough memory and time. (This is the essential insight of the Church–Turing thesis and the universal Turing machine.) Therefore, if any digital machine can "act like it is thinking", then every sufficiently powerful digital machine can. Turing writes, "all digital computers are in a sense equivalent." This allows the original question to be made even more specific. Turing now restates the original question as "Let us fix our attention on one particular digital computer C. Is it true that by modifying this computer to have an adequate storage, suitably increasing its speed of action, and providing it with an appropriate programme, C can be made to play satisfactorily the part of A in the imitation game, the part of B being taken by a man?" Hence, Turing states that the focus is not on "whether all digital computers would do well in the game nor whether the computers that are presently available would do well, but whether there are imaginable computers which would do well". What is more important is to consider the advancements possible in the state of our machines today regardless of whether we have the available resource to create one or not. == Nine common objections == Having clarified the question, Turing turned to answering it: he considered the following nine common objections, which include all the major arguments against artificial intelligence raised in the years since his paper was first published. Religious Objection: This states that thinking is a function of man's immortal soul; therefore, a machine cannot think. "In attempting to construct such machines," wrote Turing, "we should not be irreverently usurping His power of creating souls, any more than we are in the procreation of children: rather we are, in either case, instruments of His will providing mansions for the souls that He creates." 'Heads in the Sand' Objection: "The consequences of machines thinking would be too dreadful. Let us hope and believe that they cannot do so." This thinking is popular among intellectual people, as they believe superiority derives from higher intelligence and the possibility of being overtaken is a threat (as machines have efficient memory capacities and processing speed, machines exceeding the learning and knowledge capabilities are highly probable). This objection is a fallacious appeal to consequences, confusing what should not be with what can or cannot be (Wardrip-Fruin, 56). The Mathematical Objection: This objection uses mathematical theorems, such as Gödel's incompleteness theorem, to show that there are limits to what questions a computer system based on logic can answer. Turing suggests that humans are too often wrong themselves and pleased at the fallibility of a machine. (This argument would be made again by philosopher John Lucas in 1961 and physicist Roger Penrose in 1989, and later would be called Penrose–Lucas argument.) Argument From Consciousness: This argument, suggested by Professor Geoffrey Jefferson in his 1949 Lister Oration (acceptance speech for his 1948 award of Lister Medal) states that "not until a machine can write a sonnet or compose a concerto because of thoughts and emotions felt, and not by the chance fall of symbols, could we agree that machine equals brain." Turing replies by saying that we have no way of knowing that any individual other than ourselves experiences emotions, and that therefore we should accept the test. He adds, "I do not wish to give the impression that I think there is no mystery about consciousness ... [b]ut I do not think these mysteries necessarily need to be solved before we can answer the question [of whether machines can think]." (This argument, that a computer can't have conscious experiences or understanding, would be made in 1980 by philosopher John Searle in his Chinese room argument. Turing's reply is now known as the "other minds reply". See also Can a machine have a mind? in the philosophy of AI.) Arguments from various disabilities. These arguments all have the form "a computer will never do X". Turing offers a selection:Be kind, resourceful, beautiful, friendly, have initiative, have a sense of humour, tell right from wrong, make mistakes, fall in love, enjo

    Read more →
  • Anna Ridler

    Anna Ridler

    Anna Ridler (born 1985) is an artist who works with machine learning, handmade archives and moving image. She builds her own datasets to expose the labour and ideology embedded in the systems that organise knowledge. Her work is held in the permanent collections of the Whitney Museum of American Art, the Victoria and Albert Museum, M+ and ZKM Center for Art and Media Karlsruhe, and has been exhibited widely at cultural institutions including Tate Modern, Barbican Centre, Centre Pompidou, The Photographers' Gallery, Taipei Fine Arts Museum, MIT Museum, Kunsthaus Graz, ZKM Center for Art and Media Karlsruhe and Ars Electronica. == Biography == Born in London in 1985, Ridler spent her childhood raised between Atlanta, Georgia and the United Kingdom. She obtained a Bachelor of Arts in English Literature and Language from Oxford University in 2007 and a Master of Arts in Information Experience Design from the Royal College of Art in 2017. == Art practice == Ridler's practice uses technology, and in particular machine learning, to investigate how naming, classification and financial speculation determine what can be seen and what is erased. A core element of Ridler's work lies in the creation of handmade data sets through a laborious process of selecting and classifying images and text. By creating her own data sets, Ridler is able to uncover and expose underlying themes and concepts while also inverting the usual process of scraping pre-classified images found in large databases on the Internet. She began working with machine learning as an artistic material in 2017, at a moment when the technology required building every dataset by hand; that constraint became the foundation of the practice. Her interests are in drawing, machine learning, data collection, storytelling and technology. == Work == Some of Ridler's most notable works to date fall within her ‘tulip series’ which explores the hysteria around tulip mania and compares it to the speculation and bubbles surrounding cryptocurrencies. The series is expressed in three forms: a photographic dataset in Myriad (Tulips), 2018; two iterations of machine generated videos in Mosaic Virus (2018) and Mosaic Virus (2019); and a website with an accompanied functioning decentralized application in Bloemenveiling (2019). === Myriad (Tulips) (2018) === I wanted to draw together ideas around capitalism, value, and the tangible and intangible nature of speculation, and collapse from two very different yet surprisingly similar moments in history. Myriad (Tulips) (2018) is an installation of ten thousand hand-labeled photographs forming a dataset of unique tulips. The ten thousand, or myriad of, photographs were taken by Ridler over the course of three months, roughly the length of a tulip season, spent in Utrecht. Each photograph is carefully affixed one by one with magnets to a specially painted black wall in a laborious process to form a seemingly precise grid. Myriad (Tulips) (2018) has been exhibited in AI: More than Human, Barbican Centre, London, UK (May 16 - August 26, 2019); Error—The Art of Imperfection, Ars Electronica Export, Berlin, Germany (November 17, 2018 – March 3, 2019); Peer to Peer, Shanghai Centre of Photography, Shanghai, China (December 8 - February 9, 2020). The work was featured in Bloomberg, It’s Nice That, and Hyperallergic. For Myriad (Tulips), Ridler was nominated for a Beazley Design of the Year award for her presentation of an alternative perspective on how to engage with artificial intelligence; demonstrating a departure from ownership and control of major corporations to a more personalized process of constructing and conceptualizing from the ground-up. === Mosaic Virus (2018, 2019) === Mosaic Virus (2018) is a single screen video installation displaying a grid of continually evolving tulips in bloom. For Mosaic Virus (2019) Ridler used three screens. The appearance of the tulips is controlled by artificial intelligence using fluctuations in the price of bitcoin. The stripes on the tulips' petals reflect the value of the cryptocurrency. Ridler draws parallels with the tulip mania of the 17th century; representing the hysteria and speculation around crypto-currencies. The work takes its name from the mosaic virus which caused stripes in tulip petals, subsequently increasing their desirability and leading to speculative prices. Ridler trained a general adversarial network (GAN) on the set of ten thousand photographs of individual tulips from her work Myriad (Tulips). She used a technique called spectral normalization to improve the output. The work was exhibited in Error—The Art of Imperfection, Ars Electronica Export, Berlin, Germany (November 17, 2018 – March 3, 2019). === Bloemenveiling (2019) === Bloemenveiling (2019) is an auction of artificial-intelligence-generated tulips on the blockchain in the form of a functioning decentralized application: http://bloemenveiling.bid. Ridler collaborated with senior research scientist at DeepMind, David Pfau to investigate whether blockchain could be used as a means of finding poetic substance within it. The piece interrogates the way technology drives human desire and economic dynamics by creating artificial scarcity. In the work, short moving image pieces of tulips created by generative adversarial networks are sold at auction using smart contracts on the Ethereum network. Each time a tulip is sold, thousands of computers around the world all work to verify the transaction, checking each other's work against each other. While the artificial intelligence behind the moving image pieces has the potential to generate infinite flowers, the enormous distributed network is used, at great environmental cost, to introduce scarcity to an otherwise limitless resource. Bloemenveiling was exhibited in Entangled Realities, HEK Basel, Basel, Switzerland in 2019. == Solo exhibitions == Anna Ridler, Circadian Bloom, ZKM Center for Art and Media, Karlsruhe, (2023) Anna Ridler, Time Blooms, Buk Seoul Museum of Art, Seoul, (2025) Anna Ridler, Trace Remains, Galerie Nagel Draxler, Cologne, (2026) Anna Ridler, Laws of Ordered Form, The Photographers' Gallery, London (2020); The Abstraction of Nature, Aksioma, Ljubljana (2020) == Awards and recognition == European Union EMAP Fellow (2018) DARE Art Prize (2018–2019) Featured in Thames & Hudson, Digital Art (1960s–Now) Featured in British Art: The Last 15 Years ABS Digital Artist of the Year (2025)

    Read more →
  • Predicate (logic)

    Predicate (logic)

    In logic, a predicate is a non-logical symbol that represents a property or a relation, though, formally, does not need to represent anything at all. For instance, in the first-order formula P ( a ) {\displaystyle P(a)} , the symbol P {\displaystyle P} is a predicate that applies to the individual constant a {\displaystyle a} which evaluates to either true or false. Similarly, in the formula R ( a , b ) {\displaystyle R(a,b)} , the symbol R {\displaystyle R} is a predicate that applies to the individual constants a {\displaystyle a} and b {\displaystyle b} . Predicates are considered a primitive notion of first-order, and higher-order logic and are therefore not defined in terms of other more basic concepts. The term derives from the grammatical term "predicate", meaning a word or phrase that represents a property or relation. In the semantics of logic, predicates are interpreted as relations. For instance, in a standard semantics for first-order logic, the formula R ( a , b ) {\displaystyle R(a,b)} would be true on an interpretation if the entities denoted by a {\displaystyle a} and b {\displaystyle b} stand in the relation denoted by R {\displaystyle R} . Since predicates are non-logical symbols, they can denote different relations depending on the interpretation given to them. While first-order logic only includes predicates that apply to individual objects, other logics may allow predicates that apply to collections of objects defined by other predicates. Strictly speaking, a predicate does not need to be given any interpretation, so long as its syntactic properties are well-defined. For example, equality may be understood solely through its reflexive and substitution properties (cf. Equality (mathematics) § Axioms). Other properties can be derived from these, and they are sufficient for proving theorems in mathematics. Similarly, set membership can be understood solely through the axioms of Zermelo–Fraenkel set theory. == Predicates in different systems == A predicate is a statement or mathematical assertion that contains variables, sometimes referred to as predicate variables, and may be true or false depending on those variables’ value or values. In propositional logic, atomic formulas are sometimes regarded as zero-place predicates. In a sense, these are nullary (i.e. 0-arity) predicates. In first-order logic, a predicate is a non-logical relation symbol, which forms an atomic formula when applied to an appropriate number of terms. In set theory with the law of excluded middle, predicates are understood to be characteristic functions or set indicator functions (i.e., functions from a set element to a truth value). Set-builder notation makes use of predicates to define sets. In autoepistemic logic, which rejects the law of excluded middle, predicates may be true, false, or simply unknown. In particular, a given collection of facts may be insufficient to determine the truth or falsehood of a predicate. In fuzzy logic, the strict true/false valuation of the predicate is replaced by a quantity interpreted as the degree of truth.

    Read more →
  • Sample complexity

    Sample complexity

    The sample complexity of a machine learning algorithm represents the number of training-samples that it needs in order to successfully learn a target function. More precisely, the sample complexity is the number of training-samples that we need to supply to the algorithm, so that the function returned by the algorithm is within an arbitrarily small error of the best possible function, with probability arbitrarily close to 1. There are two variants of sample complexity: The weak variant fixes a particular input-output distribution; The strong variant takes the worst-case sample complexity over all input-output distributions. The No free lunch theorem, discussed below, proves that, in general, the strong sample complexity is infinite, i.e. that there is no algorithm that can learn the globally-optimal target function using a finite number of training samples. However, if we are only interested in a particular class of target functions (e.g., only linear functions) then the sample complexity is finite, and it depends linearly on the VC dimension on the class of target functions. == Definition == Let X {\displaystyle X} be a space which we call the input space, and Y {\displaystyle Y} be a space which we call the output space, and let Z {\displaystyle Z} denote the product X × Y {\displaystyle X\times Y} . For example, in the setting of binary classification, X {\displaystyle X} is typically a finite-dimensional vector space and Y {\displaystyle Y} is the set { − 1 , 1 } {\displaystyle \{-1,1\}} . Fix a hypothesis space H {\displaystyle {\mathcal {H}}} of functions h : X → Y {\displaystyle h\colon X\to Y} . A learning algorithm over H {\displaystyle {\mathcal {H}}} is a computable map from Z {\displaystyle Z} to H {\displaystyle {\mathcal {H}}} . In other words, it is an algorithm that takes as input a finite sequence of training samples and outputs a function from X {\displaystyle X} to Y {\displaystyle Y} . Typical learning algorithms include empirical risk minimization, without or with Tikhonov regularization. Fix a loss function L : Y × Y → R ≥ 0 {\displaystyle {\mathcal {L}}\colon Y\times Y\to \mathbb {R} _{\geq 0}} , for example, the square loss L ( y , y ′ ) = ( y − y ′ ) 2 {\displaystyle {\mathcal {L}}(y,y')=(y-y')^{2}} , where h ( x ) = y ′ {\displaystyle h(x)=y'} . For a given distribution ρ {\displaystyle \rho } on X × Y {\displaystyle X\times Y} , the expected risk of a hypothesis (a function) h ∈ H {\displaystyle h\in {\mathcal {H}}} is E ( h ) := E ρ [ L ( h ( x ) , y ) ] = ∫ X × Y L ( h ( x ) , y ) d ρ ( x , y ) {\displaystyle {\mathcal {E}}(h):=\mathbb {E} _{\rho }[{\mathcal {L}}(h(x),y)]=\int _{X\times Y}{\mathcal {L}}(h(x),y)\,d\rho (x,y)} In our setting, we have h = A ( S n ) {\displaystyle h={\mathcal {A}}(S_{n})} , where A {\displaystyle {\mathcal {A}}} is a learning algorithm and S n = ( ( x 1 , y 1 ) , … , ( x n , y n ) ) ∼ ρ n {\displaystyle S_{n}=((x_{1},y_{1}),\ldots ,(x_{n},y_{n}))\sim \rho ^{n}} is a sequence of vectors which are all drawn independently from ρ {\displaystyle \rho } . Define the optimal risk E H ∗ = inf h ∈ H E ( h ) . {\displaystyle {\mathcal {E}}_{\mathcal {H}}^{}={\underset {h\in {\mathcal {H}}}{\inf }}{\mathcal {E}}(h).} Set h n = A ( S n ) {\displaystyle h_{n}={\mathcal {A}}(S_{n})} , for each sample size n {\displaystyle n} . h n {\displaystyle h_{n}} is a random variable and depends on the random variable S n {\displaystyle S_{n}} , which is drawn from the distribution ρ n {\displaystyle \rho ^{n}} . The algorithm A {\displaystyle {\mathcal {A}}} is called consistent if E ( h n ) {\displaystyle {\mathcal {E}}(h_{n})} probabilistically converges to E H ∗ {\displaystyle {\mathcal {E}}_{\mathcal {H}}^{}} . In other words, for all ϵ , δ > 0 {\displaystyle \epsilon ,\delta >0} , there exists a positive integer N {\displaystyle N} , such that, for all sample sizes n ≥ N {\displaystyle n\geq N} , we have Pr ρ n [ E ( h n ) − E H ∗ ≥ ε ] < δ . {\displaystyle \Pr _{\rho ^{n}}[{\mathcal {E}}(h_{n})-{\mathcal {E}}_{\mathcal {H}}^{}\geq \varepsilon ]<\delta .} The sample complexity of A {\displaystyle {\mathcal {A}}} is then the minimum N {\displaystyle N} for which this holds, as a function of ρ , ϵ {\displaystyle \rho ,\epsilon } , and δ {\displaystyle \delta } . We write the sample complexity as N ( ρ , ϵ , δ ) {\displaystyle N(\rho ,\epsilon ,\delta )} to emphasize that this value of N {\displaystyle N} depends on ρ , ϵ {\displaystyle \rho ,\epsilon } , and δ {\displaystyle \delta } . If A {\displaystyle {\mathcal {A}}} is not consistent, then we set N ( ρ , ϵ , δ ) = ∞ {\displaystyle N(\rho ,\epsilon ,\delta )=\infty } . If there exists an algorithm for which N ( ρ , ϵ , δ ) {\displaystyle N(\rho ,\epsilon ,\delta )} is finite, then we say that the hypothesis space H {\displaystyle {\mathcal {H}}} is learnable. In others words, the sample complexity N ( ρ , ϵ , δ ) {\displaystyle N(\rho ,\epsilon ,\delta )} defines the rate of consistency of the algorithm: given a desired accuracy ϵ {\displaystyle \epsilon } and confidence δ {\displaystyle \delta } , one needs to sample N ( ρ , ϵ , δ ) {\displaystyle N(\rho ,\epsilon ,\delta )} data points to guarantee that the risk of the output function is within ϵ {\displaystyle \epsilon } of the best possible, with probability at least 1 − δ {\displaystyle 1-\delta } . In probably approximately correct (PAC) learning, one is concerned with whether the sample complexity is polynomial, that is, whether N ( ρ , ϵ , δ ) {\displaystyle N(\rho ,\epsilon ,\delta )} is bounded by a polynomial in 1 / ϵ {\displaystyle 1/\epsilon } and 1 / δ {\displaystyle 1/\delta } . If N ( ρ , ϵ , δ ) {\displaystyle N(\rho ,\epsilon ,\delta )} is polynomial for some learning algorithm, then one says that the hypothesis space H {\displaystyle {\mathcal {H}}} is PAC-learnable. This is a stronger notion than being learnable. == Unrestricted hypothesis space: infinite sample complexity == One can ask whether there exists a learning algorithm so that the sample complexity is finite in the strong sense, that is, there is a bound on the number of samples needed so that the algorithm can learn any distribution over the input-output space with a specified target error. More formally, one asks whether there exists a learning algorithm A {\displaystyle {\mathcal {A}}} , such that, for all ϵ , δ > 0 {\displaystyle \epsilon ,\delta >0} , there exists a positive integer N {\displaystyle N} such that for all n ≥ N {\displaystyle n\geq N} , we have sup ρ ( Pr ρ n [ E ( h n ) − E H ∗ ≥ ε ] ) < δ , {\displaystyle \sup _{\rho }\left(\Pr _{\rho ^{n}}[{\mathcal {E}}(h_{n})-{\mathcal {E}}_{\mathcal {H}}^{}\geq \varepsilon ]\right)<\delta ,} where h n = A ( S n ) {\displaystyle h_{n}={\mathcal {A}}(S_{n})} , with S n = ( ( x 1 , y 1 ) , … , ( x n , y n ) ) ∼ ρ n {\displaystyle S_{n}=((x_{1},y_{1}),\ldots ,(x_{n},y_{n}))\sim \rho ^{n}} as above. The No Free Lunch Theorem says that without restrictions on the hypothesis space H {\displaystyle {\mathcal {H}}} , this is not the case, i.e., there always exist "bad" distributions for which the sample complexity is arbitrarily large. Thus, in order to make statements about the rate of convergence of the quantity sup ρ ( Pr ρ n [ E ( h n ) − E H ∗ ≥ ε ] ) , {\displaystyle \sup _{\rho }\left(\Pr _{\rho ^{n}}[{\mathcal {E}}(h_{n})-{\mathcal {E}}_{\mathcal {H}}^{}\geq \varepsilon ]\right),} one must either constrain the space of probability distributions ρ {\displaystyle \rho } , e.g. via a parametric approach, or constrain the space of hypotheses H {\displaystyle {\mathcal {H}}} , as in distribution-free approaches. == Restricted hypothesis space: finite sample-complexity == The latter approach leads to concepts such as VC dimension and Rademacher complexity which control the complexity of the space H {\displaystyle {\mathcal {H}}} . A smaller hypothesis space introduces more bias into the inference process, meaning that E H ∗ {\displaystyle {\mathcal {E}}_{\mathcal {H}}^{}} may be greater than the best possible risk in a larger space. However, by restricting the complexity of the hypothesis space it becomes possible for an algorithm to produce more uniformly consistent functions. This trade-off leads to the concept of regularization. It is a theorem from VC theory that the following three statements are equivalent for a hypothesis space H {\displaystyle {\mathcal {H}}} : H {\displaystyle {\mathcal {H}}} is PAC-learnable. The VC dimension of H {\displaystyle {\mathcal {H}}} is finite. H {\displaystyle {\mathcal {H}}} is a uniform Glivenko-Cantelli class. This gives a way to prove that certain hypothesis spaces are PAC learnable, and by extension, learnable. === An example of a PAC-learnable hypothesis space === X = R d , Y = { − 1 , 1 } {\displaystyle X=\mathbb {R} ^{d},Y=\{-1,1\}} , and let H {\displaystyle {\mathcal {H}}} be the space of affine functions on X {\displaystyle X} , that is, functions of the form x ↦ ⟨ w , x ⟩ + b {\displaystyle x\mapsto \langl

    Read more →
  • Miss AI

    Miss AI

    Miss AI is an annual international artificial intelligence beauty pageant run by the British company Fanvue. It is the first beauty pageant for AI-generated personas. == History == Miss AI's inaugural contest was organized by Fanvue as a part of the World AI Creator Awards (WAICAs) in 2024. The winner is selected by a panel of judges which consists of both humans and AI-generated individuals. The Moroccan virtual influencer Kenza Layli was crowned with the inaugural title while Lalina Valina and Olivia C remained the first and second runners-up respectively. == Competition == The creators are eligible to take part in this competition as long as the models are entirely AI-generated and have a social media presence. The judges evaluate contestants' three main categories – Beauty, Tech, & Social clout and rank them according the overall points earned from these categories. The Guardian commented that "AI models take every toxic gendered beauty norm and bundle them up into completely unrealistic package". == Winners ==

    Read more →
  • Speech synthesis

    Speech synthesis

    Speech synthesis is the artificial production of human speech. A computer system used for this purpose is called a speech synthesizer, and can be implemented in software or hardware products. A text-to-speech (TTS) system converts normal language text into speech; other systems render symbolic linguistic representations like phonetic transcriptions into speech. The reverse process is speech recognition. Synthesized speech can be created by concatenating pieces of recorded speech that are stored in a database. Systems differ in the size of the stored speech units; a system that stores phones or diphones provides the largest output range, but may lack clarity. For specific usage domains, the storage of entire words or sentences allows for high-quality output. Alternatively, a synthesizer can incorporate a model of the vocal tract and other human voice characteristics to create a completely "synthetic" voice output. The quality of a speech synthesizer is judged by its similarity to the human voice and by its ability to be understood clearly. An intelligible text-to-speech program allows people with visual impairments or reading disabilities to listen to written words on a home computer. The earliest computer operating system to have included a speech synthesizer was Unix in 1974, through the Unix speak utility. In 2000, Microsoft Sam was the default text-to-speech voice synthesizer used by the narrator accessibility feature, which shipped with all Windows 2000 operating systems, and subsequent Windows XP systems. A text-to-speech system (or "engine") is composed of two parts: a front-end and a back-end. The front-end has two major tasks. First, it converts raw text containing symbols like numbers and abbreviations into the equivalent of written-out words. This process is often called text normalization, pre-processing, or tokenization. The front-end then assigns phonetic transcriptions to each word, and divides and marks the text into prosodic units, like phrases, clauses, and sentences. The process of assigning phonetic transcriptions to words is called text-to-phoneme or grapheme-to-phoneme conversion. Phonetic transcriptions and prosody information together make up the symbolic linguistic representation that is output by the front-end. The back-end—often referred to as the synthesizer—then converts the symbolic linguistic representation into sound. In certain systems, this part includes the computation of the target prosody (pitch contour, phoneme durations), which is then imposed on the output speech. == History == Long before the invention of electronic signal processing, some people tried to build machines to emulate human speech. There were also legends of the existence of "Brazen Heads", such as those involving Pope Silvester II (d. 1003 AD), Albertus Magnus (1198–1280), and Roger Bacon (1214–1294). In 1779, the German-Danish scientist Christian Gottlieb Kratzenstein won the first prize in a competition announced by the Russian Imperial Academy of Sciences and Arts for models he built of the human vocal tract that could produce the five long vowel sounds (in International Phonetic Alphabet notation: [aː], [eː], [iː], [oː] and [uː]). There followed the bellows-operated "acoustic-mechanical speech machine" of Wolfgang von Kempelen of Pressburg, Hungary, described in a 1791 paper. This machine added models of the tongue and lips, enabling it to produce consonants as well as vowels. In 1837, Charles Wheatstone produced a "speaking machine" based on von Kempelen's design, and in 1846, Joseph Faber exhibited the "Euphonia". In 1923, Paget resurrected Wheatstone's design. In the 1930s, Bell Labs developed the vocoder, which automatically analyzed speech into its fundamental tones and resonances. From his work on the vocoder, Homer Dudley developed a keyboard-operated voice-synthesizer called The Voder (Voice Demonstrator), which he exhibited at the 1939 New York World's Fair. Franklin S. Cooper and his colleagues at Haskins Laboratories built the pattern playback in the late 1940s and completed it in 1950. There were several different versions of this hardware device; only one currently survives. The machine converts pictures of the acoustic patterns of speech in the form of a spectrogram back into sound. Using this device, Alvin Liberman and colleagues discovered acoustic cues for the perception of phonetic segments (consonants and vowels). === Electronic devices === The first computer-based speech-synthesis systems originated in the late 1950s. Noriko Umeda et al. developed the first general English text-to-speech system in 1968, at the Electrotechnical Laboratory in Japan. In 1961, physicist John Larry Kelly, Jr and his colleague Louis Gerstman used an IBM 704 computer to synthesize speech, an event among the most prominent in the history of Bell Labs. Kelly's voice recorder synthesizer (vocoder) recreated the song "Daisy Bell", with musical accompaniment from Max Mathews. Coincidentally, Arthur C. Clarke was visiting his friend and colleague John Pierce at the Bell Labs Murray Hill facility. Clarke was so impressed by the demonstration that he used it in the climactic scene of his screenplay for his novel 2001: A Space Odyssey, where the HAL 9000 computer sings the same song as astronaut Dave Bowman puts it to sleep. Despite the success of purely electronic speech synthesis, research into mechanical speech-synthesizers continues. Linear predictive coding (LPC), a form of speech coding, began development with the work of Fumitada Itakura of Nagoya University and Shuzo Saito of Nippon Telegraph and Telephone (NTT) in 1966. Further developments in LPC technology were made by Bishnu S. Atal and Manfred R. Schroeder at Bell Labs during the 1970s. LPC was later the basis for early speech synthesizer chips, such as the Texas Instruments LPC Speech Chips used in the Speak & Spell toys from 1978. In 1975, Fumitada Itakura developed the line spectral pairs (LSP) method for high-compression speech coding, while at NTT. From 1975 to 1981, Itakura studied problems in speech analysis and synthesis based on the LSP method. In 1980, his team developed an LSP-based speech synthesizer chip. LSP is an important technology for speech synthesis and coding, and in the 1990s was adopted by almost all international speech coding standards as an essential component, contributing to the enhancement of digital speech communication over mobile channels and the internet. In 1975, MUSA was released, and was one of the first Speech Synthesis systems. It consisted of a stand-alone computer hardware and a specialized software that enabled it to read Italian. A second version, released in 1978, was also able to sing Italian in an "a cappella" style. Dominant systems in the 1980s and 1990s were the DECtalk system, based largely on the work of Dennis Klatt at MIT, and the Bell Labs system; the latter was one of the first multilingual language-independent systems, making extensive use of natural language processing methods. Handheld electronics featuring speech synthesis began emerging in the 1970s. One of the first was the Telesensory Systems Inc. (TSI) Speech+ portable calculator for the blind in 1976. Other devices had primarily educational purposes, such as the Speak & Spell toy produced by Texas Instruments in 1978. Fidelity released a speaking version of its electronic chess computer in 1979. The first video game to feature speech synthesis was the 1980 shoot 'em up arcade game, Stratovox (known in Japan as Speak & Rescue), from Sun Electronics. The first personal computer game with speech synthesis was Manbiki Shoujo (Shoplifting Girl), released in 1980 for the PET 2001, for which the game's developer, Hiroshi Suzuki, developed a "zero cross" programming technique to produce a synthesized speech waveform. Another early example, the arcade version of Berzerk, also dates from 1980. The Milton Bradley Company produced the first multi-player electronic game using voice synthesis, Milton, in the same year. In 1976, Computalker Consultants released their CT-1 Speech Synthesizer. Designed by D. Lloyd Rice and Jim Cooper, it was an analog synthesizer built to work with microcomputers using the S-100 bus standard. Synthesized voices typically sounded male until 1990, when Ann Syrdal, at AT&T Bell Laboratories, created a female voice. Ray Kurzweil predicted in 2005 that as the cost-performance ratio caused speech synthesizers to become cheaper and more accessible, more people would benefit from the use of text-to-speech programs. === Artificial intelligence === In September 2016, DeepMind released WaveNet, which demonstrated that deep learning models are capable of modeling raw waveforms and generating speech from acoustic features like spectrograms or mel-spectrograms, starting the field of deep learning speech synthesis. Although WaveNet was initially considered to be computationally expensive and slow to be used in consumer products at the time, a year after its

    Read more →
  • 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 ===

    Read more →
  • Image scaling

    Image scaling

    In computer graphics and digital imaging, image scaling is the resizing of a digital image. In video technology, the magnification of digital material is known as upscaling or resolution enhancement. When scaling a vector graphic image, the graphic primitives that make up the image can be rendered using geometric transformations at any resolution with no loss of image quality. When scaling a raster graphics image, a new image with a higher or lower number of pixels must be generated. In the case of decreasing the pixel number (scaling down), this usually results in a visible quality loss. From the standpoint of digital signal processing, the scaling of raster graphics is a two-dimensional example of sample-rate conversion, the conversion of a discrete signal from a sampling rate (in this case, the local sampling rate) to another. == Mathematical == Image scaling can be interpreted as a form of image resampling or image reconstruction from the view of the Nyquist sampling theorem. According to the theorem, downsampling to a smaller image from a higher-resolution original can only be carried out after applying a suitable 2D anti-aliasing filter to prevent aliasing artifacts. The image is reduced to the information that can be carried by the smaller image. In the case of up sampling, a reconstruction filter takes the place of the anti-aliasing filter. A more sophisticated approach to upscaling treats the problem as an inverse problem, solving the question of generating a plausible image that, when scaled down, would look like the input image. A variety of techniques have been applied for this, including optimization techniques with regularization terms and the use of machine learning from examples. == Algorithms == An image size can be changed in several ways. === Nearest-neighbor interpolation === One of the simpler ways of increasing image size is nearest-neighbor interpolation, replacing every pixel with the nearest pixel in the output; for upscaling, this means multiple pixels of the same color will be present. This can preserve sharp details but also introduce jaggedness in previously smooth images. 'Nearest' in nearest-neighbor does not have to be the mathematical nearest. One common implementation is to always round toward zero. Rounding this way produces fewer artifacts and is faster to calculate. This algorithm is often preferred for images which have little to no smooth edges. A common application of this can be found in pixel art. === Bilinear and bicubic interpolation === Bilinear interpolation works by interpolating pixel color values, introducing a continuous transition into the output even where the original material has discrete transitions. Although this is desirable for continuous-tone images, this algorithm reduces contrast (sharp edges) in a way that may be undesirable for line art. Bicubic interpolation yields substantially better results, with an increase in computational cost. === Sinc and Lanczos resampling === Sinc resampling, in theory, provides the best possible reconstruction for a perfectly bandlimited signal. In practice, the assumptions behind sinc resampling are not completely met by real-world digital images. Lanczos resampling, an approximation to the sinc method, yields better results. Bicubic interpolation can be regarded as a computationally efficient approximation to Lanczos resampling. === Box sampling === One weakness of bilinear, bicubic, and related algorithms is that they sample a specific number of pixels. When downscaling below a certain threshold, such as more than twice for all bi-sampling algorithms, the algorithms will sample non-adjacent pixels, which results in both losing data and rough results. The trivial solution to this issue is box sampling, which is to consider the target pixel a box on the original image and sample all pixels inside the box. This ensures that all input pixels contribute to the output. The major weakness of this algorithm is that it is hard to optimize. === Mipmap === Another solution to the downscale problem of bi-sampling scaling is mipmaps. A mipmap is a prescaled set of downscaled copies. When downscaling, the nearest larger mipmap is used as the origin to ensure no scaling below the useful threshold of bilinear scaling. This algorithm is fast and easy to optimize. It is standard in many frameworks, such as OpenGL. The cost is using more image memory, exactly one-third more in the standard implementation. === Fourier-transform methods === Simple interpolation based on the Fourier transform pads the frequency domain with zero components (a smooth window-based approach would reduce the ringing). Besides the good conservation (or recovery) of details, notable are the ringing and the circular bleeding of content from the left border to the right border (and the other way around). === Edge-directed interpolation === Edge-directed interpolation algorithms aim to preserve edges in the image after scaling, unlike other algorithms, which can introduce staircase artifacts. Examples of algorithms for this task include New Edge-Directed Interpolation (NEDI), Edge-Guided Image Interpolation (EGGI), Iterative Curvature-Based Interpolation (ICBI), and Directional Cubic Convolution Interpolation (DCCI). A 2013 analysis found that DCCI had the best scores in peak signal-to-noise ratio and structural similarity on a series of test images. === hqx === For magnifying computer graphics with low resolution and/or few colors (usually from 2 to 256 colors), better results can be achieved by hqx or other pixel-art scaling algorithms. These produce sharp edges and maintain a high level of detail. === Vectorization === Vector extraction, or vectorization, offers another approach. Vectorization first creates a resolution-independent vector representation of the graphic to be scaled. The resulting SVG vector file can then be exported and rendered at any required resolution without quality loss, serving directly as production-ready artwork for scalable display & printing. This technique is used by Adobe Illustrator, Live Trace, and Inkscape. Scalable Vector Graphics are well suited to simple geometric images, while photographs do not fare well with vectorization due to their complexity. === Deep convolutional neural networks === This method uses machine learning for more detailed images, such as photographs and complex artwork. Programs that use this method include waifu2x, Imglarger and Neural Enhance. Demonstration of conventional vs. waifu2x upscaling with noise reduction, using a detail of Phosphorus and Hesperus by Evelyn De Morgan. [Click image for full size] AI-driven upscaling software allows detail and sharpness to be added to historical photographs, where it is not present in the original. The availability of AI upscaling tools has led to confusion where a person believes that the upscaled version of a blurry image is genuinely showing them the subject of the original photograph. In 2025 a user of the social media site X posted an AI-upscaled version of a low resolution photo of Donald Trump that they had zoomed in on, and asked if anyone could "explain what the hell is happening to his forehead". Experts noted that the image had been distorted by the upscaling process, and that such tools "inevitably have to invent, or at least recreate, details that were or were not there". == Applications == === General === Image scaling is used in, among other applications, web browsers, image editors, image and file viewers, software magnifiers, digital zoom, the process of generating thumbnail images, and when outputting images through screens or printers. === Video === This application is the magnification of images for home theaters for HDTV-ready output devices from PAL-Resolution content, for example, from a DVD player. Upscaling is performed in real time, and the output signal is not saved. === Pixel-art scaling === As pixel-art graphics are usually low-resolution, they rely on careful placement of individual pixels, often with a limited palette of colors. This results in graphics that rely on stylized visual cues to define complex shapes with little resolution, down to individual pixels. This makes scaling pixel art a particularly difficult problem. Specialized algorithms were developed to handle pixel-art graphics, as the traditional scaling algorithms do not take perceptual cues into account. Since a typical application is to improve the appearance of fourth-generation and earlier video games on arcade and console emulators, many are designed to run in real time for small input images at 60 frames per second. On fast hardware, these algorithms are suitable for gaming and other real-time image processing. These algorithms provide sharp, crisp graphics, while minimizing blur. Scaling art algorithms have been implemented in a wide range of emulators such as HqMAME and DOSBox, as well as 2D game engines and game engine recreations such as ScummVM. They gained recognition with game

    Read more →
  • Megami Tensei

    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

    Read more →
  • Emma Hart (computer scientist)

    Emma Hart (computer scientist)

    Professor Emma Hart, FRSE (born 1967) is an English computer scientist known for her work in artificial immune systems (AIS), evolutionary computation and optimisation. She is a professor of computational intelligence at Edinburgh Napier University, editor-in-chief of the Journal of Evolutionary Computation (MIT Press), and D. Coordinator of the Future & Emerging Technologies (FET) Proactive Initiative, Fundamentals of Collective Adaptive Systems. == Early life and education == Hart was born in Middlesbrough, England in 1967. In 1990 she graduated from the University of Oxford with a first class BA(Hons) in Chemistry. She then continued her studies at the University of Edinburgh, graduating with an MSc in Artificial Intelligence in 1994, followed by a PhD that explored the use of immunology as an inspiration for computing, examining a range of techniques applied to optimization and data classification problems. Her dissertation was titled Immunology as a metaphor for computational information processing: Fact or fiction?, and her doctoral advisor was Peter Ross. == Career == In 2000 Hart took a position as a lecturer at Edinburgh Napier University, and was promoted to a Reader, Professor, and in 2008 Chair in Natural Computation. She is now director of the Centre of Algorithms, Visualisation and Evolving Systems (CAVES) group in the School of Computing. She continues to research in the area of developing novel bio-inspired techniques for solving a range of real-world optimisation and classification problems, as well as exploring the fundamental properties of immune-inspired computing through modelling and simulation. She is also involved in editorial activity and currently occupies the position of Editor-in-Chief of the Journal of Evolutionary Computation (MIT Press). Her interests lie in the area of bio-inspired computing, in particular artificial immune systems (AIS). She also undertakes research in three main areas: optimisation, self-organising/self-adaptive systems, and artificial intelligence. Hart is D. Coordinator of Fundamentals of Collective Adaptive Systems (FoCAS), a Future and Emerging Technologies Proactive Initiative funded by the European Commission under FP7. == Selected works == === Conference talks === Hart, Emma. "Lifelong learning in optimization (video)". 28th European Conference on Operational Research. The Association of European Operational Research Societies. Hart, Emma (December 2021). "Self-assembling robots and the potential of artificial evolution". TED talk 2021. === Journal articles === "An immune system approach to scheduling in changing environments". E.Hart, P.Ross. 1999. Proceedings of the 1st Annual Conference on Genetic and Evolutionary Computation (2), 1559–1566. "Exploiting the analogy between immunology and sparse distributed memories: A system for clustering non-stationary data". E.Hart, P.Ross. 2002. 1st International Conference on Artificial Immune Systems. "Evolutionary scheduling: A review". E Hart, P Ross, D Corne. 2005. Genetic Programming and Evolvable Machines 6(2), 191–220. DOI: https://doi.org/10.1007/s10710-005-7580-7 "Application areas of AIS: The past, the present and the future". E.Hart, J.Timmis. 2008. Applied soft computing 8(1), 191–201. DOI: https://doi.org/10.1016/j.asoc.2006.12.004 "Structure versus function: a topological perspective on immune networks". E.Hart, H.Bersini, F.Santos. 2010. Natural computing 9(3), 603–624. DOI: https://doi.org/10.1007/s11047-009-9138-8 "On the life-long learning capabilities of a nelli: A hyper-heuristic optimisation system". E.Hart, K.Sim. 2014. International Conference on Parallel Problem Solving from Nature, 282–291. DOI: https://doi.org/10.1007/978-3-319-10762-2_28 "A hyper-heuristic ensemble method for static job-shop scheduling". E.Hart, K.Sim. 2016. Evolutionary computation 24(4), 609-635. DOI: https://dx.doi.org/10.1162/EVCO_a_00183 == Awards and recognition == 2016, Featured article on Lifelong Learning in Optimisation, IFORS newsletter 2016, "A Combined Generative and Selective Hyper-heuristic for the Vehicle Routing Problem" presented at GECCO 2016 (Denver, USA), ACM 2016, "A Hybrid Parameter Control Approach Applied to a Diversity-based Multi-objective Memetic Algorithm for Frequency Assignment Problems" presented at WCCI 2016 (Vancouver, Canada), IEEE 2017, Keynote Speaker, 2017 International Joint Conference on Computational Intelligence 2018, Bronze Award in International Human-Competitive Awards (Humies), International Conference on Genetic and Evolutionary Computation, Kyoto Japan 2018, Nomination for best paper award, GECCO 18, Kyoto, Japan 2022, Elected Fellow of the Royal Society of Edinburgh

    Read more →