AI Code Model Ranking

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

Ciscogate

Ciscogate, also known as the Black Hat Bug, is the name given to a legal incident that occurred at the Black Hat Briefings security conference in Las Vegas, Nevada, on July 27, 2005. On the morning of the first day of the conference, July 26, 2005, some attendees noticed that 30 pages of text had been physically ripped out of the extensive conference presentation booklet the night before at the request of Cisco Systems and the CD-ROM with presentation slides was not included. It was determined the pages covered a talk to be given by Michael Lynn, a security researcher with Atlanta-based IBM Internet Security Systems (ISS). Instead of the pages with the details, attendees found a photographed copy of a notice from Black Hat saying "Due to some last minute changes beyond Black Hat's control, and at the request of the presenter, the included materials aren't up to the standards Black Hat tries to meet. Black Hat will be the first to apologize. We hope the vendors involved will follow suit." According to Lynn's lawyer, his employer had approved of the talk leading up to the conference but changed their minds two days before the scheduled talk, forbidding him from presenting. Lynn's original presentation was to cover a vulnerability in Cisco routers. The presentation was one of four scheduled to follow Jeff Moss' keynote address on the first day of the conference, titled "Cisco IOS Security Architecture". After being told by his employer that he could not present on the topic, Lynn chose an alternate topic. Cisco and ISS had offered to give new joint presentation but this was turned down by Black Hat because the original speaking slot was given to Lynn, not Cisco. Lynn's presentation began by covering security issues in services that allow users to make Voice over IP telephone calls. Shortly after beginning the presentation Lynn changed back to his original topic and began disclosing some technical details of the vulnerability he found in Cisco routers stating that he would rather resign from his job at ISS than keep the details private. == Lawsuit == Shortly after Lynn concluded his talk he met Jennifer Granick, who would soon become his lawyer. During their initial meeting Lynn told Granick that he expected to be sued. Later in the evening Lynn had heard that Cisco and ISS had filed a lawsuit and requested a temporary restraining order against Black Hat but not himself. A public relations representative from Black Hat told Granick that the lawsuit was against both Black Hat and Lynn and that the companies had scheduled an Ex parte hearing in San Francisco the next morning to request the restraining order. That night, Andrew Valentine, an attorney for ISS and Cisco called Lynn who directed them to Granick. During the conversation Valentine explained the claims and accusations against Lynn, which included three things: 1) ISS claimed copyright over the presentation that Lynn gave, 2) Cisco claimed copyright over the decompiled machine code obtained from the router which was included in the presentation, and 3) Cisco claimed the presentation contained trade secrets. These complaints were outlined in a civil complaint at the U.S. Northern District of California and filed against both Lynn and Black Hat. According to Granick, she and Valentine were able agree to an injunction to settle the case without court proceedings. This deal was almost called off due to an inadvertent mistake by Black Hat in which they had restored Lynn's presentation on their web server. Black Hat, Granick, and the plaintiff's lawyers were able to resolve this problem and the deal stood. One condition of the settlement required Lynn to provide an image of all computer data he used in his research to be provided to a third party for forensic analysis before erasing his research and any Cisco data from his systems. The settlement also stipulated that Lynn was prohibited from talking about the vulnerability in the future. == FBI Investigation == Shortly after lawyers for Lynn and ISS / Cisco filed settlement papers, FBI agents from the Las Vegas office arrived at the conference to begin asking questions. According to Granick, they were there at the request of the Atlanta FBI office and Lynn was not of interest. Granick asserted the Fifth and Sixth amendment rights on behalf of her client, Lynn. Granick asserted his rights for the Atlanta office and asked if an arrest warrant had been issued for Lynn. Over the next 24 hours Granick was not able to ascertain the status of a warrant but ultimately determined no warrant was issued. When the FBI was asked about the case by a journalist, spokesman Paul Bresson declined to discuss the case saying "Our policy is to not make any comment on anything that is ongoing. That's not to confirm that something is, because I really don't know". Granick would only confirm to journalists that the "investigation has to do with the presentation". == Response == === Attendees === Attendees of Black Hat Briefings, as well as many that also attended DEF CON, were not happy with vendors threatening legal action over vulnerability disclosure. The term "Ciscogate" was coined quickly by an unknown person, but some attendees were quick to create shirts to commemorate the incident. === Cisco === Mojgan Khalili, a senior manager for corporate PR at Cisco, issued a statement to the press saying "It is important to note that the information Mr. Lynn presented was not a disclosure of a new vulnerability or a flaw with Cisco IOS software. Mr. Lynn's research explores possible ways to expand exploitations of existing security vulnerabilities impacting routers." === ISS === Kim Duffy, managing director of ISS Australia, was asked about ISS's response to the incident. Duffy responded that it was "business as usual" as the company handled the incident "strictly by the book". He gave a brief statement to ZDNet UK saying "ISS has published rules for disclosure and that is what we stick to. We didn't care to publish [the disclosure] because we were not ready. We had not completed the research to our satisfaction so it was not ready to be disclosed". ISS spokesperson Roger Fortier confirmed that Lynn was no longer employed with the company and that ISS was still working with Cisco on the matter. He gave a statement to the Washington Post saying "ISS and Cisco have been working on this in the background and didn't feel at this time that the material was ready for publication. The decision was made on Monday to pull the presentation because we wanted to make sure the research was fully baked."
Read more →
Andrew McCallum

Andrew McCallum is an American professor in the computer science department at University of Massachusetts Amherst. His primary specialties are in machine learning, natural language processing, information extraction, information integration, and social network analysis. == Career == McCallum graduated summa cum laude from Dartmouth College in 1989. He completed his Ph.D. at the University of Rochester in 1995 under the supervision of Dana H. Ballard. McCallum was then a postdoctoral fellow, working with Sebastian Thrun and Tom M. Mitchell at Carnegie Mellon University. From 1998 to 2000, he was a Research Scientist and Research Coordinator at Justsystem Pittsburgh Research Center. From 2000 to 2002, he was Vice President of Research and Development at WhizBang Labs, and Director of its Pittsburgh office. Since 2002, he has worked as a professor of computer science at the University of Massachusetts Amherst. In 2020, he also joined Google as a part-time research scientist. He was elected as a fellow of the Association for the Advancement of Artificial Intelligence in 2009, and as an Association for Computing Machinery in 2017. From 2014 to 2017, he was the President of International Machine Learning Society (IMLS), which organizes the International Conference on Machine Learning. He is also the director of the Center for Data Science at UMass, leading a new partnership with the Chan and Zuckerberg Initiative. In 2018, the initiative made an initial grant of 5.5 million to the center, supporting research to facilitate new ways for scientists to explore and discover research articles. == Main contributions == In collaboration with John D. Lafferty and Fernando Pereira, McCallum developed conditional random fields, first described in a paper presented at the International Conference on Machine Learning (ICML). In 2011 this research paper won the ICML "Test of Time" (10-year best paper) award. McCallum has written several widely used open-source software toolkits for machine learning, natural language processing and other text processing, including Rainbow, Mallet (software project), and FACTORIE. In addition, he was instrumental in publishing the Enron Corpus, a large collection of emails that has been used as a basis for a number of academic studies of social networking and language. McCallum instigated and directs the nonprofit project OpenReview.net, an online platform that aims to promote openness in scientific communication, particularly the peer review process, by providing a flexible cloud-based web interface and underlying database API.
Read more →
Is an AI Headshot Generator Worth It in 2026?

In search of the best AI headshot generator? An AI headshot generator is software that uses machine learning to help you get more done — it turns a rough idea into a polished result in seconds. When choosing one, weigh output quality, pricing, export formats, and how well it fits the tools you already use. Whether you are a beginner or a pro, the right AI headshot generator slots into your workflow and pays for itself fast. We tested the leading options and ranked them by quality, value, and ease of use.
Read more →
The Best Free AI Photo Editor for Beginners

Comparing the best AI photo editor? An AI photo editor is software that uses machine learning to help you get more done — it lowers the barrier so anyone can produce professional output. Privacy matters too: check whether your data trains the model and whether a no-log or enterprise tier is available. Whether you are a beginner or a pro, the right AI photo editor slots into your workflow and pays for itself fast. We tested the leading options and ranked them by quality, value, and ease of use.
Read more →
Image tracing

In computer graphics, image tracing, raster-to-vector conversion or raster vectorization is the conversion of raster graphics into vector graphics. == Background == An image does not have any structure: it is just a collection of marks on paper, grains in film, or pixels in a bitmap. While such an image is useful, it has some limits. If the image is magnified enough, its artifacts appear. The halftone dots, film grains, and pixels become apparent. Images of sharp edges become fuzzy or jagged. See, for example, pixelation. Ideally, a vector image does not have the same problem. Edges and filled areas are represented as mathematical curves or gradients, and they can be magnified arbitrarily (though of course the final image must also be rasterized in to be rendered, and its quality depends on the quality of the rasterization algorithm for the given inputs). The task in vectorization is to convert a two-dimensional image into a two-dimensional vector representation of the image. It is not examining the image and attempting to recognize or extract a three-dimensional model that may be depicted; i.e. it is not a vision system. For most applications, vectorization also does not involve optical character recognition; characters are treated as lines, curves, or filled objects without attaching any significance to them. In vectorization, the shape of the character is preserved, so artistic embellishments remain. Vectorization is the inverse operation corresponding to rasterization, as integration is to differentiation. And, just as with these other operations, while rasterization is fairly straightforward and algorithmic, vectorization involves the reconstruction of lost information and therefore requires heuristic methods. Synthetic images such as maps, cartoons, logos, clip art, and technical drawings are suitable for vectorization. Those images could have been originally made as vector images because they are based on geometric shapes or drawn with simple curves. Continuous tone photographs (such as live portraits) are not good candidates for vectorization. The input to vectorization is an image, but an image may come in many forms such as a photograph, a drawing on paper, or one of several raster file formats. Programs that do raster-to-vector conversion may accept bitmap formats such as TIFF, BMP and PNG. The output is a vector file format. Common vector formats are SVG, DXF, EPS, EMF and AI. Vectorization can be used to update images or recover work. Personal computers often come with a simple paint program that produces a bitmap output file. These programs allow users to make simple illustrations by adding text, drawing outlines, and filling outlines with a specific color. Only the results of these operations (the pixels) are saved in the resulting bitmap; the drawing and filling operations are discarded. Vectorization can be used to recapture some of the information that was lost. Vectorization is also used to recover information that was originally in a vector format but has been lost or has become unavailable. A company may have commissioned a logo from a graphic arts firm. Although the graphics firm used a vector format, the client company may not have received a copy of that format. The company may then acquire a vector format by scanning and vectorizing a paper copy of the logo. == Process == Vectorization starts with an image. === Manual === The image can be vectorized manually. A person could look at the image, make some measurements, and then write the output file by hand. That was the case for the vectorization of a technical illustration about neutrinos. The illustration has a few geometric shapes and a lot of text; it was relatively easy to convert the shapes, and the SVG vector format allows the text (even subscripts and superscripts) to be entered easily. The original image did not have any curves (except for the text), so the conversion is straightforward. Curves make the conversion more complicated. Manual vectorization of complicated shapes can be facilitated by the tracing function built into some vector graphics editing programs. If the image is not yet in machine readable form, then it has to be scanned into a usable file format. Once there is a machine-readable bitmap, the image can be imported into a graphics editing program (such as Adobe Illustrator, CorelDRAW, or Inkscape). Then a person can manually trace the elements of the image using the program's editing features. Curves in the original image can be approximated with lines, arcs, and Bézier curves. An illustration program allows spline knots to be adjusted for a close fit. Manual vectorization is possible, but it can be tedious. Although graphics drawing programs have been around for a long time, artists may find the freehand drawing facilities awkward even when a drawing tablet is used. Instead of using a program, Pepper recommends making an initial sketch on paper. Instead of scanning the sketch and tracing it freehand in the computer, Pepper states: "Those proficient with a graphic tablet and stylus could make the following changes directly in CorelDRAW by using a scan of the sketch as an underlay and drawing over it. I prefer to use pen and ink, and a light table"; most of the final image was traced by hand in ink. Later the line-drawing image was scanned at 600 dpi, cleaned up in a paint program, and then automatically traced with a program. Once the black and white image was in the graphics program, some other elements were added and the figure was colored. Similarly, Ploch recreated a design from a digital photograph. The JPEG was imported and some "basic shapes" were traced by hand and colored in the graphics drawing program; more complex shapes were handled differently. Ploch used a bitmap editor to remove the background and crop the more complex image components. He then printed the image and traced it by hand onto tracing paper to get a clean black and white line drawing. That drawing was scanned and then vectorized with a program. === Automatic === Some programs automate the vectorization process. Example programs are Adobe Illustrator, Inkscape, Corel's PowerTRACE, and Potrace. Some of these programs have a command line interface while others are interactive that allow the user to adjust the conversion settings and view the result. Adobe Streamline is not only an interactive program, but it also allows a user to manually edit the input bitmap and the output curves. Corel's PowerTRACE is accessed through CorelDRAW; CorelDRAW can be used to modify the input bitmap and edit the output curves. Adobe Illustrator has a facility to trace individual curves. Automated programs can have mixed results. A program (PowerTRACE) was used to convert a PNG map to SVG. The program did a good job on the map boundaries (the most tedious task in the tracing) and the settings dropped out all the text (small objects). The text was manually re-inserted. Other conversions may not go as well. The results depend on having high-quality scans, reasonable settings, and good algorithms. Scanned images often have a lot of noise, which can require additional work to clean up. == Options == There are many different image styles and possibilities, and no single vectorization method works well on all images. Consequently, vectorization programs have many options that influence the result. One issue is what the predominant shapes are. If the image is of a fill-in form, then it will probably have just vertical and horizontal lines of a constant width. The program's vectorization should take that into account. On the other hand, a CAD drawing may have lines at any angle, there may be curved lines, and there may be several line weights (thick for objects and thin for dimension lines). Instead of (or in addition to) curves, the image may contain outlines filled with the same color. Adobe Streamline allows users to select a combination of line recognition (horizontal and vertical lines), centerline recognition, or outline recognition. Streamline also allows small outline shapes to be thrown out; the notion is such small shapes are noise. The user may set the noise level between 0 and 1000; an outline that has fewer pixels than that setting is discarded. Another issue is the number of colors in the image. Even images that were created as black on white drawings may end up with many shades of gray. Some line-drawing routines employ anti-aliasing; a pixel completely covered by the line will be black, but a pixel that is only partially covered will be gray. If the original image is on paper and is scanned, there is a similar result: edge pixels will be gray. Sometimes images are compressed (e.g., JPEG images), and the compression will introduce gray levels. Many of the vectorization programs will group same-color pixels into lines, curves, or outlined shapes. If each possible color is grouped into its object, there can be an enormous number of objects. Instead, the user is asked to s
Read more →
Michael I. Jordan

Michael Irwin Jordan (born February 25, 1956) is an American scientist, professor at the University of California, Berkeley, research scientist at the Inria Paris, and researcher in machine learning, statistics, and artificial intelligence. Jordan was elected a member of the National Academy of Engineering in 2010 for contributions to the foundations and applications of machine learning. He is one of the leading figures in machine learning, and in 2016 Science reported him as the world's most influential computer scientist. In 2022, Jordan won the inaugural World Laureates Association Prize in Computer Science or Mathematics, "for fundamental contributions to the foundations of machine learning and its application." == Education == Jordan received a Bachelor of Science magna cum laude in psychology from the Louisiana State University in 1978, a Master of Science in mathematics from Arizona State University in 1980, and a Doctor of Philosophy in cognitive science from the University of California, San Diego in 1985. At UC San Diego, Jordan was a student of David Rumelhart and a member of the Parallel Distributed Processing (PDP) Group in the 1980s. == Career and research == Jordan is the Pehong Chen Distinguished Professor at the University of California, Berkeley, where his appointment is split across EECS and Statistics. He was a professor at the Department of Brain and Cognitive Sciences at MIT from 1988 to 1998. In the 1980s Jordan started developing recurrent neural networks as a cognitive model. In recent years, his work is less driven from a cognitive perspective and more from the background of traditional statistics. Jordan popularised Bayesian networks in the machine learning community and is known for pointing out links between machine learning and statistics. He was also prominent in the formalisation of variational methods for approximate inference and the popularisation of the expectation–maximization algorithm in machine learning. === Resignation from Machine Learning === In 2001, Jordan and others resigned from the editorial board of the journal Machine Learning. In a public letter, they argued for less restrictive access and pledged support for a new open access journal, the Journal of Machine Learning Research, which was created by Leslie Kaelbling to support the evolution of the field of machine learning. === Honors and awards === Jordan has received numerous awards, including a best student paper award (with X. Nguyen and M. Wainwright) at the International Conference on Machine Learning (ICML 2004), a best paper award (with R. Jacobs) at the American Control Conference (ACC 1991), the ACM-AAAI Allen Newell Award, the IEEE Neural Networks Pioneer Award, and an NSF Presidential Young Investigator Award. In 2002 he was named an AAAI Fellow "for significant contributions to reasoning under uncertainty, machine learning, and human motor control." In 2004 he was named an IMS Fellow "for contributions to graphical models and machine learning." In 2005 he was named an IEEE Fellow "for contributions to probabilistic graphical models and neural information processing systems." In 2007 he was named an ASA Fellow. In 2010 he was named a Cognitive Science Society Fellow and named an ACM Fellow "for contributions to the theory and application of machine learning." In 2012 he was named a SIAM Fellow "for contributions to machine learning, in particular variational approaches to statistical inference." In 2014 he was named an International Society for Bayesian Analysis Fellow "for his outstanding research contributions at the interface of statistics, computer sciences and probability, for his leading role in promoting Bayesian methods in machine learning, engineering and other fields, and for his extensive service to ISBA in many roles." Jordan is a member of the National Academy of Sciences, a member of the National Academy of Engineering and a member of the American Academy of Arts and Sciences. He has been named a Neyman Lecturer and a Medallion Lecturer by the Institute of Mathematical Statistics. He received the David E. Rumelhart Prize in 2015 and the ACM/AAAI Allen Newell Award in 2009. He also won the 2020 IEEE John von Neumann Medal. In 2016, Jordan was identified as the "most influential computer scientist", based on an analysis of the published literature by the Semantic Scholar project. In 2019, Jordan argued that the artificial intelligence revolution hasn't happened yet and that the AI revolution required a blending of computer science with statistics. In 2022, Jordan was awarded the inaugural World Laureates Association Prize by non-governmental and non-profit international organization World Laureates Association, for fundamental contributions to the foundations of machine learning and its application. For 2024 he received the BBVA Foundation Frontiers of Knowledge Award in the category of "Information and Communication Technologies".
Read more →
How to Choose an AI Headshot Generator

Comparing the best AI headshot generator? An AI headshot generator is software that uses machine learning to help you get more done — it lowers the barrier so anyone can produce professional output. Privacy matters too: check whether your data trains the model and whether a no-log or enterprise tier is available. Whether you are a beginner or a pro, the right AI headshot generator slots into your workflow and pays for itself fast. We tested the leading options and ranked them by quality, value, and ease of use.
Read more →
Corpus-assisted discourse studies

Corpus-assisted discourse studies (abbr.: CADS) is related historically and methodologically to the discipline of corpus linguistics. The principal endeavor of corpus-assisted discourse studies is the investigation, and comparison of features of particular discourse types, integrating into the analysis the techniques and tools developed within corpus linguistics. These include the compilation of specialised corpora and analyses of word and word-cluster frequency lists, comparative keyword lists and, above all, concordances. A broader conceptualisation of corpus-assisted discourse studies would include any study that aims to bring together corpus linguistics and discourse analysis. Such research is often labelled as corpus-based or corpus-assisted discourse analysis, with the term CADS coined by a research group in Italy (Partington 2004) for a specific type of corpus-assisted discourse analysis (see the section 'in different countries' below). == Aims == Corpus-assisted discourse studies aim to uncover non-obvious meaning, that is, meaning which might not be readily available to naked-eye perusal. Much of what carries meaning in texts is not open to direct observation: “you cannot understand the world just by looking at it” (Stubbs [after Gellner 1959] 1996: 92). We use language “semi-automatically”, in the sense that speakers and writers make semi-conscious choices within the various complex overlapping systems of which language is composed, including those of transitivity, modality (Michael Halliday 1994), lexical sets (e.g. freedom, liberty, deliverance), modification, and so on. Authors themselves are, famously, generally unaware of all the meanings their texts convey. By combining the quantitative research approach, that is, statistical analysis of large amounts of the discourse in question - more precisely, large numbers of tokens of the discourse type under study contained in a corpus - with the more qualitative research approach typical of discourse analysis, that is, the close, detailed examination of particular stretches of discourse it may be possible to better understand the processes at play in the discourse type and to gain access to non-obvious meanings. Aims can differ in other types of corpus-based or corpus-assisted discourse analysis; but in general such studies combine quantitative and qualitative research and aim to shed light on discourses, registers, discourse patterns, etc., with the help of a corpus linguistic approach. Specific aims and techniques depend on the relevant project. == In different countries == In German-speaking countries: Pioneering work in corpus-based discourse analysis was conducted in Europe, in particular by Hardt-Mautner/Mautner (1995, 2000) and Stubbs (1996, 2001). CADS and other types of corpus-based discourse analysis are inspired by this important early work. In Italy: A considerable body of research has been conducted in Italy either by individual researchers or under the aegis of combined inter-university projects such as Newspool (Partington et al. 2004) and CorDis (Morley and Bayley eds, 2009). It has concentrated on political and media language, mainly because a nucleus of linguists in Italian universities work in Political Science faculties and are increasingly interested in the use of corpus techniques to conduct a particular type of sociopolitical discourse analysis, including the unearthing of noteworthy ideological metaphors and motifs in the language of political figures and institutions. Italian researchers also developed Modern diachronic corpus-assisted discourse studies (MD-CADS). This approach contrasts the language contained in comparable corpora from different but recent points in time in order to track changes in modern language usage but also social, cultural and political changes over modern times, as reflected - and shared among people - in language. It is this Italian body of research that makes most use of the label CADS. In the UK: Linguists in the UK tend to undertake corpus-based critical discourse analysis (CDA). CDA generally adopts a leftist political stance, focusing on the ways that social and political domination is reproduced by text and talk. This type of corpus-based research was originally associated with Lancaster University (Baker et al. 2008), but has spread more widely since. Such work typically studies the discourses around particular groups of people (e.g. Muslims, people with disabilities) or concepts/events (e.g. feminism, same-sex marriage). In Australia: Corpus-based discourse analysis is undertaken by a growing number of Australian researchers, most often on media texts. Some of this work aims to elucidate specific features of discourse types (news, social media, television series, etc.), while other work is rooted in the tradition of corpus-based critical discourse analysis. == Comparison with traditional corpus linguistics == Traditional corpus linguistics has, quite naturally, tended to privilege the quantitative approach. In the drive to produce more authentic dictionaries and grammars of a language, it has been characterised by the compilation of some very large corpora of heterogeneric discourse types in the desire to obtain an overview of the greatest quantity and variety of discourse types possible, in other words, of the chimerical but useful fiction called the “general language” (“general English”, “general Italian”, and so on). This has led to the construction of immensely valuable research tools such as the Bank of English and the British National Corpus. Some branches of corpus linguistics have also promoted an approach that is "corpus-driven", in which we need, grammatically speaking, a mental tabula rasa to free ourselves of the baleful prejudice exerted by traditional models and allow the data to speak entirely for itself. The aim of corpus-assisted discourse studies and related approaches is radically different. Here the aim of the exercise is to acquaint oneself as much as possible with the discourse type(s) in hand. Researchers typically engage with their corpus in a variety of ways. As well as via wordlists and concordancing, intuitions for further research can also arise from reading or watching or listening to parts of the data-set, a process which can help provide a feel for how things are done linguistically in the discourse-type being studied. Corpus-assisted discourse analysis is also typically characterised by the compilation of ad hoc specialised corpora, since very frequently there exists no previously available collection of the discourse type in question. Often, other corpora are utilized in the course of a study for purposes of comparison. These may include pre-existing corpora or may themselves need to be compiled by the researcher. In some sense, all work with corpora – just as all work with discourse - is properly comparative. Even when a single corpus is employed, it is used to test the data it contains against another body of data. This may consist of the researcher's intuitions, or the data found in reference works such as dictionaries and grammars, or it may be statements made by previous authors in the field. == CADS as a specific type of corpus-based discourse analysis == Researchers in Italy have developed CADS as a specific type of corpus-based discourse analysis, creating a standard set of methods: 'A basic, standard methodology in CADS may resemble the following:' Step 1: Decide upon the research question; Step 2: Choose, compile or edit an appropriate corpus; Step 3: Choose, compile or edit an appropriate reference corpus / corpora; Step 4: Make frequency lists and run a keywords comparison of the corpora; Step 5: Determine the existence of sets of key items; Step 6: Concordance interesting key items (with differing quantities of co-text); Step 7: (Possibly) refine the research question and return to Step 2. This basic procedure can of course vary according to individual research circumstances and requirements. A particular way of conceptualising research questions has also been proposed in such CADS projects: Given that P is a discourse participant (or possibly an institution) and G is a goal, often a political goal: How does P achieve G with language? What does this tell us about P? Comparative studies: how do P1 and P2 differ in their use of language? Does this tell us anything about their different principles and objectives? A second general type of CADS research question, which might be asked of interactive discourse data, has been conceptualised as follows: Given that P(x) is a particular participant or set of participants, DT is the discourse type, and R is an observed relationship between or among participants: How do {P(a), P(b)...P(n)} achieve / maintain R in DT [using language]? Another common type of research question has been conceptualised thus: Given that A is an author, Ph(x) is a phenomenon or practice or behaviour, and DT(x) is a particular discourse type. A has said P
Read more →
ReRites

ReRites (also known as RERITES, ReadingRites, Big Data Poetry) is a literary work of "Human + A.I. poetry" by David Jhave Johnston that used neural network models trained to generate poetry which the author then edited. ReRites won the Robert Coover Award for a Work of Electronic Literature in 2022. == About the project == The ReRites project began as a daily rite of writing with a neural network, expanded into a series of performances from which video documentation has been published online, and concluded with a set of 12 books and an accompanying book of essays published by Anteism Books in 2019. In Electronic Literature, Scott Rettberg describes the early phases of the project in 2016, when it bore the preliminary name Big Data Poetry. Jhave (the artist name that David Jhave Johnston goes by) describes the process of writing ReRites as a rite: "Every morning for 2 hours (normally 6:30–8:30am) I get up and edit the poetic output of a neural net. Deleting, weaving, conjugating, lineating, cohering. Re-writing. Re-wiring authorship: hybrid augmented enhanced evolutionary". There is video documentation of the writing process. The human editing of the neural network's output is fundamental to this project, and Jhave gives examples of both unedited text extracts and his edited versions in publications about the project. Kyle Booten describes ReRites as "simultaneously dusty and outrageously verdant, monotonously sublime and speckled with beautiful and rare specimens". === Performances === ReRites was first shared with an audience through a series of performances where audience members and poets would participate in reading the automatically generated texts, which appeared on screen so fast that human readers could barely keep up. This has been described as allowing participants to "re-discover[..] the peculiar pleasures of being embodied", or, in Jhave's own words, as a space where human participants were "playing their wits and voices against an evocative infinite deep-learning muse". The first performance was at Brown University's Interrupt Festival in 2019. It has been performed many times since, including at the Barbican Centre in London and Anteism Books. === Print publications === For a single year Jhave published one book of poetry from the ReRites project each month. These twelve volumes are accompanied by a book of essays, all published by Anteism Books. The accompanying essays provide critical responses to the project from poets and scholars including Allison Parrish, Johanna Drucker, Kyle Booten, Stephanie Strickland, John Cayley, Lai-Tze Fan, Nick Montfort, Mairéad Byrne, and Chris Funkhouser. Allison Parrish notes elsewhere that these paratexts to ReRites serve a legitimising function for a genre of poetry that is not yet institutionally acknowledged. === Technical details === Starting in 2016 under the name Big Data Poetry, Jhave generated poems using, in his own words, "neural network code (..) adapted from three corporate github-hosted machine-learning libraries: TensorFlow (Google), PyTorch (Facebook), and AWD-LSTM (SalesForce)". He explains that the "models were trained on a customised corpus of 600,000 lines of poetry ranging from the romantic epoch to the 20th century avant garde". Jhave maintains a GitHub repository with some of the code supporting ReRites. == Reception == ReRites is described by John Cayley as "one of the most thorough and beautiful" poetic responses to machine learning. The work's influence on the field of electronic literature was acknowledged in 2022, when the work won the Electronic Literature Organization's Robert Coover Award for a Work of Electronic Literature. The jury described ReRites as particularly poignant in the time of the pandemic, as it was "a documentation of the performance of the private ritual of writing and the obsessive-compulsive need for writers to communicate — even when no one else is reading". The question of authorship and voice in ReRites has been raised by several critics. Although generated poetry is an established genre in electronic literature, Cayley notes that unlike the combinatory poems created by authors like Nick Montfort, where the author explicitly defines which words and phrases will be recombined, ReRites has "not been directed by literary preconceptions inscribed in the program itself, but only by patterns and rhythms pre-existing in the corpora". In an essay for the Australian journal TEXT, David Thomas Henry Wright asks how to understand authorship and authority in ReRites: "Who or what is the authority of the work? The original data fed into the machine, that is not currently retrievable or discernible from the final works? The code that was taken and adapted for his purposes? Or Jhave, the human editor?" Wright concludes that Jhave is the only actor with any intentionality and therefore the authority of the work. The centrality of the human editor is also emphasised by other scholars. In a chapter analysing ReRites Malthe Stavning Erslev argues that the machine learning misrepresents the dataset it is trained on. While ReRites uses 21st century neural networks, it has been compared to earlier literary traditions. Poet Victoria Stanton, who read at one of the ReRites performances, has compared ReRites to found poetry, while David Thomas Henry Wright compares it to the Oulipo movement and Mark Amerika to the cut-up technique. Scholars also position ReRites firmly within the long tradition of generative poetry both in electronic literature and print, stretching from the I Ching, Queneau's Cent Mille Milliards de Poemes and Nabokov's Pale Fire to computer-generated poems like Christopher Strachey's Love Letter Generator (1952) and more contemporary examples. Jhave describes the process of working with the output from the neural network as "carving". In his book My Life as an Artificial Creative Intelligence, Mark Amerika writes that the "method of carving the digital outputs provided by the language model as part of a collaborative remix jam session with GPT-2, where the language artist and the language model play off each other’s unexpected outputs as if caught in a live postproduction set, is one I share with electronic literature composer David Jhave Johnston, whose AI poetry experiments precede my own investigations."
Read more →
Top 10 AI Image Generators Compared (2026)

Curious about the best AI image generator? An AI image generator is software that uses machine learning to help you get more done — it combines speed, accuracy, and an interface that just works. Hands-on testing shows real-world results vary, so a short free trial is the smartest way to decide. Whether you are a beginner or a pro, the right AI image generator slots into your workflow and pays for itself fast. Read on for hands-on impressions, pricing tiers, and the standout features that matter.
Read more →
Mealy machine

In the theory of computation, a Mealy machine is a finite-state machine whose output values are determined both by its current state and the current inputs. This is in contrast to a Moore machine, whose output values are determined solely by its current state. A Mealy machine is a deterministic finite-state transducer: for each state and input, at most one transition is possible. == History == The Mealy machine is named after George H. Mealy, who presented the concept in a 1955 paper, "A Method for Synthesizing Sequential Circuits". == Formal definition == A Mealy machine is a 6-tuple ( S , S 0 , Σ , Λ , T , G ) {\displaystyle (S,S_{0},\Sigma ,\Lambda ,T,G)} consisting of the following: a finite set of states S {\displaystyle S} a start state (also called initial state) S 0 {\displaystyle S_{0}} which is an element of S {\displaystyle S} a finite set called the input alphabet Σ {\displaystyle \Sigma } a finite set called the output alphabet Λ {\displaystyle \Lambda } a transition function T : S × Σ → S {\displaystyle T:S\times \Sigma \rightarrow S} mapping pairs of a state and an input symbol to the corresponding next state. an output function G : S × Σ → Λ {\displaystyle G:S\times \Sigma \rightarrow \Lambda } mapping pairs of a state and an input symbol to the corresponding output symbol. In some formulations, the transition and output functions are coalesced into a single function T : S × Σ → S × Λ {\displaystyle T:S\times \Sigma \rightarrow S\times \Lambda } . "Evolution across time" is realized in this abstraction by having the state machine consult the time-changing input symbol at discrete "timer ticks" t 0 , t 1 , t 2 , . . . {\displaystyle t_{0},t_{1},t_{2},...} and react according to its internal configuration at those idealized instants, or else having the state machine wait for a next input symbol (as on a FIFO) and react whenever it arrives. == Comparison of Mealy machines and Moore machines == Mealy machines tend to have fewer states: Different outputs on arcs (n2) rather than states (n). When implemented as electronic circuits (rather than as mathematical abstractions or code): Moore machines are safer to use than Mealy machines: Outputs change at the clock edge (always one cycle later). In Mealy machines, input change can cause output change as soon as logic is done — a big problem when two machines are interconnected – asynchronous feedback may occur if one isn't careful. Mealy machines react faster to inputs: React in the same cycle—they don't need to wait for the clock. In Moore machines, more logic may be necessary to decode state into outputs—more gate delays after clock edge. == Diagram == The state diagram for a Mealy machine associates an output value with each transition edge, in contrast to the state diagram for a Moore machine, which associates an output value with each state. When the input and output alphabet are both Σ, one can also associate to a Mealy automata a Helix directed graph (S × Σ, (x, i) → (T(x, i), G(x, i))). This graph has as vertices the couples of state and letters, each node is of out-degree one, and the successor of (x, i) is the next state of the automata and the letter that the automata output when it is instate x and it reads letter i. This graph is a union of disjoint cycles if the automaton is bireversible. == Examples == === Simple === A simple Mealy machine has one input and one output. Each transition edge is labeled with the value of the input (shown in red) and the value of the output (shown in blue). The machine starts in state Si. (In this example, the output is the exclusive-or of the two most-recent input values; thus, the machine implements an edge detector, outputting a 1 every time the input flips and a 0 otherwise.) === Complex === More complex Mealy machines can have multiple inputs as well as multiple outputs. == Applications == Mealy machines provide a rudimentary mathematical model for cipher machines. Considering the input and output alphabet the Latin alphabet, for example, then a Mealy machine can be designed that given a string of letters (a sequence of inputs) can process it into a ciphered string (a sequence of outputs). However, although a Mealy model could be used to describe the Enigma, the state diagram would be too complex to provide feasible means of designing complex ciphering machines. Moore/Mealy machines are DFAs that have also output at any tick of the clock. Modern CPUs, computers, cell phones, digital clocks and basic electronic devices/machines have some kind of finite state machine to control it. Simple software systems, particularly ones that can be represented using regular expressions, can be modeled as finite state machines. There are many such simple systems, such as vending machines or basic electronics. By finding the intersection of two finite state machines, one can design in a very simple manner concurrent systems that exchange messages for instance. For example, a traffic light is a system that consists of multiple subsystems, such as the different traffic lights, that work concurrently.
Read more →
Top 10 AI Copywriting Tools Compared (2026)

In search of the best AI copywriting tool? An AI copywriting tool is software that uses machine learning to help you get more done — it turns a rough idea into a polished result in seconds. When choosing one, weigh output quality, pricing, export formats, and how well it fits the tools you already use. Whether you are a beginner or a pro, the right AI copywriting tool slots into your workflow and pays for itself fast. Below we compare features, pricing, and real output so you can choose with confidence.
Read more →
Audio inpainting

Audio inpainting (also known as audio interpolation) is an audio restoration task which deals with the reconstruction of missing or corrupted portions of a digital audio signal. Inpainting techniques are employed when parts of the audio have been lost due to various factors such as transmission errors, data corruption or errors during recording. The goal of audio inpainting is to fill in the gaps (i.e., the missing portions) in the audio signal seamlessly, making the reconstructed portions indistinguishable from the original content and avoiding the introduction of audible distortions or alterations. Many techniques have been proposed to solve the audio inpainting problem and this is usually achieved by analyzing the temporal and spectral information surrounding each missing portion of the considered audio signal. Classic methods employ statistical models or digital signal processing algorithms to predict and synthesize the missing or damaged sections. Recent solutions, instead, take advantage of deep learning models, thanks to the growing trend of exploiting data-driven methods in the context of audio restoration. Depending on the extent of the lost information, the inpainting task can be divided in three categories. Short inpainting refers to the reconstruction of few milliseconds (approximately less than 10) of missing signal, that occurs in the case of short distortions such as clicks or clipping. In this case, the goal of the reconstruction is to recover the lost information exactly. In long inpainting instead, with gaps in the order of hundreds of milliseconds or even seconds, this goal becomes unrealistic, since restoration techniques cannot rely on local information. Therefore, besides providing a coherent reconstruction, the algorithms need to generate new information that has to be semantically compatible with the surrounding context (i.e., the audio signal surrounding the gaps). The case of medium duration gaps lays between short and long inpainting. It refers to the reconstruction of tens of millisecond of missing data, a scale where the non-stationary characteristic of audio already becomes important. == Definition == Consider a digital audio signal x {\displaystyle \mathbf {x} } . A corrupted version of x {\displaystyle \mathbf {x} } , which is the audio signal presenting missing gaps to be reconstructed, can be defined as x ~ = m ∘ x {\displaystyle \mathbf {\tilde {x}} =\mathbf {m} \circ \mathbf {x} } , where m {\displaystyle \mathbf {m} } is a binary mask encoding the reliable or missing samples of x {\displaystyle \mathbf {x} } , and ∘ {\displaystyle \circ } represents the element-wise product. Audio inpainting aims at finding x ^ {\displaystyle \mathbf {\hat {x}} } (i.e., the reconstruction), which is an estimation of x {\displaystyle \mathbf {x} } . This is an ill-posed inverse problem, which is characterized by a non-unique set of solutions. For this reason, similarly to the formulation used for the inpainting problem in other domains, the reconstructed audio signal can be found through an optimization problem that is formally expressed as x ^ ∗ = argmin X ^ L ( m ∘ x ^ , x ~ ) + R ( x ^ ) {\displaystyle \mathbf {\hat {x}} ^{}={\underset {\hat {\mathbf {X} }}{\text{argmin}}}~L(\mathbf {m} \circ \mathbf {\hat {x}} ,\mathbf {\tilde {x}} )+R(\mathbf {\hat {x}} )} . In particular, x ^ ∗ {\displaystyle \mathbf {\hat {x}} ^{}} is the optimal reconstructed audio signal and L {\displaystyle L} is a distance measure term that computes the reconstruction accuracy between the corrupted audio signal and the estimated one. For example, this term can be expressed with a mean squared error or similar metrics. Since L {\displaystyle L} is computed only on the reliable frames, there are many solutions that can minimize L ( m ∘ x ^ , x ~ ) {\displaystyle L(\mathbf {m} \circ \mathbf {\hat {x}} ,\mathbf {\tilde {x}} )} . It is thus necessary to add a constraint to the minimization, in order to restrict the results only to the valid solutions. This is expressed through the regularization term R {\displaystyle R} that is computed on the reconstructed audio signal x ^ {\displaystyle \mathbf {\hat {x}} } . This term encodes some kind of a-priori information on the audio data. For example, R {\displaystyle R} can express assumptions on the stationarity of the signal, on the sparsity of its representation or can be learned from data. == Techniques == There exist various techniques to perform audio inpainting. These can vary significantly, influenced by factors such as the specific application requirements, the length of the gaps and the available data. In the literature, these techniques are broadly divided in model-based techniques (sometimes also referred as signal processing techniques) and data-driven techniques. === Model-based techniques === Model-based techniques involve the exploitation of mathematical models or assumptions about the underlying structure of the audio signal. These models can be based on prior knowledge of the audio content or statistical properties observed in the data. By leveraging these models, missing or corrupted portions of the audio signal can be inferred or estimated. An example of a model-based techniques are autoregressive models. These methods interpolate or extrapolate the missing samples based on the neighboring values, by using mathematical functions to approximate the missing data. In particular, in autoregressive models the missing samples are completed through linear prediction. The autoregressive coefficients necessary for this prediction are learned from the surrounding audio data, specifically from the data adjacent to each gap. Some more recent techniques approach audio inpainting by representing audio signals as sparse linear combinations of a limited number of basis functions (as for example in the Short Time Fourier Transform). In this context, the aim is to find the sparse representation of the missing section of the signal that most accurately matches the surrounding, unaffected signal. The aforementioned methods exhibit optimal performance when applied to filling in relatively short gaps, lasting only a few tens of milliseconds, and thus they can be included in the context of short inpainting. However, these signal-processing techniques tend to struggle when dealing with longer gaps. The reason behind this limitation lies in the violation of the stationarity condition, as the signal often undergoes significant changes after the gap, making it substantially different from the signal preceding the gap. As a way to overcome these limitations, some approaches add strong assumptions also about the fundamental structure of the gap itself, exploiting sinusoidal modeling or similarity graphs to perform inpainting of longer missing portions of audio signals. === Data-driven techniques === Data-driven techniques rely on the analysis and exploitation of the available audio data. These techniques often employ deep learning algorithms that learn patterns and relationships directly from the provided data. They involve training models on large datasets of audio examples, allowing them to capture the statistical regularities present in the audio signals. Once trained, these models can be used to generate missing portions of the audio signal based on the learned representations, without being restricted by stationarity assumptions. Data-driven techniques also offer the advantage of adaptability and flexibility, as they can learn from diverse audio datasets and potentially handle complex inpainting scenarios. As of today, such techniques constitute the state-of-the-art of audio inpainting, being able to reconstruct gaps of hundreds of milliseconds or even seconds. These performances are made possible by the use of generative models that have the capability to generate novel content to fill in the missing portions. For example, generative adversarial networks, which are the state-of-the-art of generative models in many areas, rely on two competing neural networks trained simultaneously in a two-player minmax game: the generator produces new data from samples of a random variable, the discriminator attempts to distinguish between generated and real data. During the training, the generator's objective is to fool the discriminator, while the discriminator attempts to learn to better classify real and fake data. In GAN-based inpainting methods the generator acts as a context encoder and produces a plausible completion for the gap only given the available information surrounding it. The discriminator is used to train the generator and tests the consistency of the produced inpainted audio. Recently, also diffusion models have established themselves as the state-of-the-art of generative models in many fields, often beating even GAN-based solutions. For this reason they have also been used to solve the audio inpainting problem, obtaining valid results. These models generate new data instances by inverting the
Read more →
Is an AI Text-to-image Tool Worth It in 2026?

Trying to pick the best AI text-to-image tool? An AI text-to-image tool is software that uses machine learning to help you get more done — it scales effortlessly from a single task to thousands. The best picks balance beginner-friendly simplicity with the depth power users need, and they ship updates often. Whether you are a beginner or a pro, the right AI text-to-image tool slots into your workflow and pays for itself fast. Read on for hands-on impressions, pricing tiers, and the standout features that matter.
Read more →
How to Choose an AI Headshot Generator

Comparing the best AI headshot generator? An AI headshot generator is software that uses machine learning to help you get more done — it lowers the barrier so anyone can produce professional output. Privacy matters too: check whether your data trains the model and whether a no-log or enterprise tier is available. Whether you are a beginner or a pro, the right AI headshot generator slots into your workflow and pays for itself fast. We tested the leading options and ranked them by quality, value, and ease of use.
Read more →