AI Code Model Ranking

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

Adobe InDesign

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

"For a Breath I Tarry" is a 1966 post-apocalyptic novelette by American writer Roger Zelazny, which was nominated for the Hugo Award for Best Novelette in 1967. Set in a future long after the self-extinction of humanity, the novelette recounts the tale of Frost, a sentient machine. Although humans have caused their own extinction, the sentient machines that they created continue the work of rebuilding a shattered Earth. Along the way, the story explores the differences between humanity and machines, the former experiencing the world qualitatively, while the latter doing so quantitatively. This difference is illustrated through philosophical conversations between Frost and another machine named Mordel. Frost's goal of becoming human, along with literary allusions, drives the plot and sets the tone of the novelette. These allusions include the first chapter of the Book of Job, in both situation and language, since verses are both quoted directly and paraphrased. In addition, the first three chapters of the Book of Genesis are echoed. Finally, Frost and Mordel enter into a Faustian bargain, though with better results than in the original story. The other major character is the Beta Machine, Frost's peer in the Southern Hemisphere. (Frost controls the Northern Hemisphere.) The novelette hints that though being a machine, Beta has a feminine personality. After Frost has succeeded in his millennium-long quest to become human (via recovered DNA), Beta agrees to join him in becoming human—suggesting the possibility of rebirth for the human race. The novelette has appeared in collections of Zelazny's works and in anthologies. The title is from a phrase in the poet A. E. Housman's collection A Shropshire Lad.
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It's the Most Terrible Time of the Year

It's the Most Terrible Time of the Year is an AI-generated television commercial created for McDonald's Netherlands by TBWA\Neboko and The Sweetshop. It was released on 6 December 2025 before being pulled four days later due to negative reception over its use of generative artificial intelligence and its cynical, negative depiction of the holiday season. == Plot == On a bleak, snowy day, various people in the city experience different kinds of mishaps during the Christmas season. Among other incidents, families struggle with their huge loads of presents; Santa Claus gets stuck in traffic; a Christmas tree "redecorates" a man's home, sending him through the window; another family puts up with annoying relatives and a burnt Christmas dinner. Because of all this chaos, a man decides to find refuge in a McDonald's outlet. A Christmas choir finishes singing the jingle "It's the Most Terrible Time of the Year" with the call to action to "hide out in McDonald's till January's here". == Campaign == It's the Most Terrible Time of the Year is a 45-second television commercial made by Dutch agency TBWA\Neboko with involvement of United States-based film production studio The Sweetshop. The advertisement was produced heavily with generative artificial intelligence (AI) following the trend set by other brands such as Coca-Cola and Toys "R" Us. McDonald's Netherlands, the client, released a statement that the commercial was meant to depict "the stressful moments during the holidays in the Netherlands". The commercial also used Andy Williams's "It's the Most Wonderful Time of the Year" with lyrics changed to fit with the concept of the advertisement. According to The Sweetshop, the production of the advertisement took "seven weeks". It also added that much effort was put into the commercial compared to the traditional process. Ten people of its in-house AI engine The Gardening Club worked on the project. Los Angeles-based directors Mark Potoka and Matt Spicer were initially credited to be involved in the film but they resigned due to being sidelined from the production process. == Reception == The advertisement was released on McDonald's Netherlands' YouTube channel on 6 December 2025. It had a negative reception over the use of generative AI and the "cynical" concept of the work's story. The video was made private on 9 December 2025. The Sweetshop stated that the production of the advertisement took human effort. McDonald's Netherlands, while stating the original intent of the commercial, released a statement after its pullout that, for many of its customers, the holiday season is the "most wonderful time of the year".
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Statistical semantics

In linguistics, statistical semantics applies the methods of statistics to the problem of determining the meaning of words or phrases, ideally through unsupervised learning, to a degree of precision at least sufficient for the purpose of information retrieval. == History == The term statistical semantics was first used by Warren Weaver in his well-known paper on machine translation. He argued that word-sense disambiguation for machine translation should be based on the co-occurrence frequency of the context words near a given target word. The underlying assumption that "a word is characterized by the company it keeps" was advocated by J. R. Firth. This assumption is known in linguistics as the distributional hypothesis. Emile Delavenay defined statistical semantics as the "statistical study of the meanings of words and their frequency and order of recurrence". "Furnas et al. 1983" is frequently cited as a foundational contribution to statistical semantics. An early success in the field was latent semantic analysis. == Applications == Research in statistical semantics has resulted in a wide variety of algorithms that use the distributional hypothesis to discover many aspects of semantics, by applying statistical techniques to large corpora: Measuring the similarity in word meanings Measuring the similarity in word relations Modeling similarity-based generalization Discovering words with a given relation Classifying relations between words Extracting keywords from documents Measuring the cohesiveness of text Discovering the different senses of words Distinguishing the different senses of words Subcognitive aspects of words Distinguishing praise from criticism == Related fields == Statistical semantics focuses on the meanings of common words and the relations between common words, unlike text mining, which tends to focus on whole documents, document collections, or named entities (names of people, places, and organizations). Statistical semantics is a subfield of computational semantics, which is in turn a subfield of computational linguistics and natural language processing. Many of the applications of statistical semantics (listed above) can also be addressed by lexicon-based algorithms, instead of the corpus-based algorithms of statistical semantics. One advantage of corpus-based algorithms is that they are typically not as labour-intensive as lexicon-based algorithms. Another advantage is that they are usually easier to adapt to new languages or noisier new text types from e.g. social media than lexicon-based algorithms are. However, the best performance on an application is often achieved by combining the two approaches.
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Inferential theory of learning

Inferential Theory of Learning (ITL) is an area of machine learning which describes inferential processes performed by learning agents. ITL has been continuously developed by Ryszard S. Michalski, starting in the 1980s. The first known publication of ITL was in 1983. In the ITL learning process is viewed as a search (inference) through hypotheses space guided by a specific goal. The results of learning need to be stored. Stored information will later be used by the learner for future inferences. Inferences are split into multiple categories including conclusive, deduction, and induction. In order for an inference to be considered complete it was required that all categories must be taken into account. This is how the ITL varies from other machine learning theories like Computational Learning Theory and Statistical Learning Theory; which both use singular forms of inference. == Usage == The most relevant published usage of ITL was in scientific journal published in 2012 and used ITL as a way to describe how agent-based learning works. According to the journal "The Inferential Theory of Learning (ITL) provides an elegant way of describing learning processes by agents".
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Shadowrun

Shadowrun is a science fantasy tabletop role-playing game set in an alternate future in which cybernetics, magic and fantasy creatures co-exist. It combines genres of cyberpunk, urban fantasy, and crime, with occasional elements of conspiracy, horror, and detective fiction. From its inception in 1989, it has spawned a franchise that includes a series of novels, a collectible card game, two miniature-based tabletop wargames, and multiple video games. The title is taken from the game's main premise – a near-future world damaged by a massive magical event, where industrial espionage and corporate warfare runs rampant. A shadowrun – a successful data theft or physical break-in at a rival corporation or organization – is one of the main tools employed by both corporate rivals and underworld figures. Deckers (futuristic hackers) can tap into an immersive, three-dimensional cyberspace on such missions as they seek access, physical or remote, to the power structures of rival groups. They are opposed by rival deckers and lethal, potentially brain-destroying artificial intelligences called "Intrusion Countermeasures" (IC), while they are protected by street fighters and/or mercenaries, often with cyborg implants (called cyberware), magicians, and other exotic figures. Magic has also returned to the world after a series of plagues; dragons who can take human form have returned as well, and are commonly found in high positions of corporate power. == Publication history == Shadowrun was developed and published by FASA from 1989 until early 2001, when the company closed and Shadowrun was transferred to WizKids, a company founded by former FASA employees. Two years before its closure, FASA sold its videogame branch, FASA Interactive, to Microsoft corporation, keeping rights to publishing novels and pen and paper RPGs. Since then, digital rights to Shadowrun IP have belonged to Microsoft. WizKids licensed the RPG rights to Fantasy Productions, who were already publishing a German version, until WizKids was acquired by Topps in 2003. Catalyst Game Labs, a publishing imprint of InMediaRes Productions, licensed the rights from Topps to publish new products. WizKids itself produced an unsuccessful collectible action figure game based on the property, called Shadowrun Duels. A fifth edition of Shadowrun was announced in December 2012. A limited-edition softcover was sold at the Origins Game Fair in June 2013, and the PDF in July 2013. A hardcover was published in August 2013. Shadowrun Anarchy was published in October 2016 It is a simplified version of the ruleset which allows focus more on the narration than on the rules. The sixth edition, called Shadowrun, Sixth World, was announced on May 1, 2019 to coincide with the game's 30th anniversary, along with a new website at shadowrunsixthworld.com. The game was published on August 26, 2019. The mechanics for this new version are generally similar to those of fifth edition, with some rules reworked for what line developer Jason Hardy describes as streamlining. This new version also progressed the in-game year to 2080. Since 2004, Shadowrun Missions (SRM) has offered fans "living campaigns" that allow for persistent character advancement. SRM is broken down into seasons which are made up of up to 24 individual missions that can be played at home, with special missions available to play exclusively at conventions. Each SRM season develops an overarching plot focused on a specific city from the Shadowrun setting. Missions settings have included the divided city of Denver, the corporate city-state of Manhattan, the Seattle Metroplex city-state, the formerly walled-off wastelands of Chicago, and Neo-Tokyo. For Shadowrun, Sixth World missions returned to Seattle, with twenty-four missions set in 2081, right after Seattle declared independence from the UCAS. The current Shadowrun Missions setting is 2083 New Orleans. The Shadowrun role-playing game has spawned several properties, including Shadowrun: The Trading Card Game, eight video games, an action figure game (Shadowrun Duels), two magazines, an art book and more than 50 novels, starting with the Secrets of Power series which introduces some of the original characters of Shadowrun and provides an introduction to this fictional universe. In addition to the main rule book there have been over 100 published supplements including adventures and expansions to both the rules and the game settings. Catalyst Game Labs announced that 2013 would be "The Year of Shadowrun," and in addition to the release of Shadowrun fifth edition that it has collaborated with publishers on the following properties: Shadowrun: Crossfire, The Adventure Deck-building Game; Shadowrun: Sprawl Gangers, a tactical miniatures wargame; and Shadowrun: Hostile Takeover, a board game designed by Bryan C.P. Steele was planned for release in late 2014/early 2015. Catalyst had been in collaboration with Nordic Games and Cliffhanger Studios to create Shadowrun Chronicles: Boston Lockdown online RPG, however it was shuttered November 30, 2018, with the producers citing lack of funding and the end of the license terms for use of the IP. == Fictional universe == Shadowrun takes place several decades in the future (2050 in the first edition, currently 2088). The end of the Mesoamerican Long Count calendar ushered in the "Sixth World", with once-mythological beings (e.g. dragons) appearing and forms of magic suddenly emerging. Large numbers of humans have "Goblinized" into orks and trolls, while many human children are born as elves, dwarves, and even more exotic creatures. In North America, indigenous peoples discovered that their traditional ceremonies allow them to command powerful spirits, and rituals associated with a new Ghost Dance movement let them take control of much of the western U.S. and Canada, where they formed a federation of Native American Nations. Seattle remains under U.S. control by treaty as a city-state enclave, and most game materials are set there and assume campaigns will use it as their setting. In parallel with these magical developments, the setting's 21st century features technological and social developments associated with cyberpunk science fiction. Megacorporations control the lives of their employees and command their own armies; many of the largest have extraterritoriality, such as currently enjoyed by foreign heads of state. Technological advances make cyberware (mechanical replacement body parts) and bioware (augmented vat-grown body parts implanted in place of or in tandem with natural organs) common. The Computer Crash of 2029 led to the creation of the Matrix, a worldwide computer network that users interact with via direct neural interface. When conflicts arise, corporations, governments, organized crime syndicates, and even wealthy individuals subcontract their dirty work to specialists, who then perform "shadowruns" or missions undertaken by deniable assets without identities or those that wish to remain unknown. The most skilled of these specialists, called shadowrunners, have earned a reputation for getting the job done. They have developed a knack for staying alive, and prospering, in the world of Shadowrun. The Shadowrun world is cross-genre, incorporating elements of both cyberpunk and urban fantasy. Unlike in a purely cyberpunk game, in the Shadowrun world, magic exists and has "worked" since 2011. Among other things, this split humankind into subtypes, also known as metatypes/metahumans. Some of these metatypes take the form of common fantasy races. Likewise, some animals have turned into familiar monsters of past fantasy and lore and both monsters and human magicians have regained magical powers. By the second half of the 21st century, in the time the game is set, these events are accepted as commonplace. Man, machine, and magic exist in a world where the amazing is among the most common and technology has entered into every facet of human (and metahuman) life. === Races === Characters in Shadowrun can be humans, orks, trolls, elves, dwarves, as well as certain diverging subspecies (known as metavariants) such as gnomes, giants, dryads, etc. In the early days, when magic returned to the world, humans began to either change into, or give birth to, elf and dwarf infants, a phenomenon called Unexplained Genetic Expression (UGE). Later, some juvenile and adult humans "goblinized" into other races (mostly orks, but also some trolls). The term "metahuman" is used either to refer to humanity as a whole, including all races, or to refer specifically to non-human races, depending on context. The return of Halley's Comet brought even further variation in the form of changelings, who have variation atypical to their metatype or even species, such as electroreception. Two of the metahuman races, elves and orks, have fictional languages. Additionally, a virus known as the Human Meta-Human Vampiric Virus (HMHVV), with many variant strains, has been known to cause f
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Theaitre

Theaitre (stylized as THEaiTRE) is an interdisciplinary research project investigating to what extent artificial intelligence is able to generate theatre play scripts. The first theatre play produced within the project, AI: When a Robot Writes a Play, premiered online on February 26, 2021. == Goal == Following similar previous projects such as Sunspring, a short sci-fi movie with an automatically generated script, the THEaiTRE project investigates whether current language generation approaches are mature enough to generate a theatre play script that could be successfully performed in front of an audience. The project falls within the area of generative art, famously represented e.g. by the portrait of Edmond de Belamy which was generated by an artificial neural network. In this field, artists are trying to use automated techniques to create "art", questioning the modern definition of art itself. More broadly, the project aims at promoting cooperation rather than competition of humans and artificial intelligence as the more beneficial approach for both. The first theatre play created within the project, titled AI: When a Robot Writes a Play, was presented in February 2021 at the 100th anniversary of the premiere of the R.U.R. theatre play by the Czech author Karel Čapek to celebrate the invention of the word "robot". While R.U.R. was a play written by a human about robots (and humans), THEaiTRE tried to reverse this idea by presenting a play written by a "robot" (artificial intelligence) about humans (and robots). The script of the play was published online, with marked parts of the text which were written manually or manually post-edited. The analysis shows that 90% of the script is automatically generated, with 10% manually written or manually post-edited. The project also plans to produce a second play in 2022, addressing some of the many shortcomings of the approach used to generate the first play, as well as attempting to further minimize the amount of human influence on the script. == Approach == At the core of the project is the GPT-2 language model by OpenAI with various adjustments motivated by the task of generating theatre play scripts, for which the model is not particularly trained. The GPT-2 model is used in the usual way, providing it with a start of a document and prompting it to generate a continuation of the document. Specifically, the input for GPT-2 in this project is typically a short description of the scene setting, followed by a few lines to introduce the characters and start the dialogue. The model then generates 10 continuation lines, and hands control to the user, who can then either ask the model to continue generating, or make various edits before letting the model to generate further, deleting some parts of the script or adding new lines into the script. The adjustments include restricting the generator to only produce lines pertaining to characters appearing in the input prompt, limiting the repetitiveness of the generated text, and employing automatic summarization of the input prompt and the generated text to overcome the limitation of the GPT-2 model which only attends to the last 1,024 subword tokens. The limitations of the model include, among other, a lack of distinctiveness and self-consistency of the characters, an inability to generate the script for the whole play (scripts for individual scenes are generated independently), and errors due to the employment of automated machine translation, as GPT-2 generates English texts but the final play script is being produced in Czech language. The source codes of the project are available under the MIT licence. The project has also published some sample outputs. == Team == The project is a cooperation of the following experts, all based in Prague, Czech Republic: computational linguists from the Faculty of Mathematics and Physics, Charles University theatre experts from the Švanda Theatre and from the Theatre Faculty of the Academy of Performing Arts in Prague hackers from CEE Hacks The project is financially supported by the Technology Agency of the Czech Republic.
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Clanker

Clanker is a derogatory term for robots and artificial intelligence (AI) software. The term has been used in Star Wars media, first appearing in the franchise's 2005 video game Star Wars: Republic Commando. In 2025, the term became widely used to express hatred or distaste for machines ranging from delivery robots to large language models. This trend has been attributed to anxiety around the negative societal effects of AI. == In science fiction == The term has been previously used in science fiction literature, first appearing in a 1958 article by William Tenn in which he uses it to describe robots from science fiction films like Metropolis. The Star Wars franchise began using the term as a slur against droids in the 2005 video game Star Wars: Republic Commando before being prominently used in the animated series Star Wars: The Clone Wars, which follows a galaxy-wide war between the Galactic Republic's clone troopers and the Confederacy of Independent Systems' battle droids. In Star Wars media, robots—more commonly known as droids—are routinely depicted as the subjects of discrimination. For example, in the original Star Wars film, C-3PO and R2-D2 are abducted by Jawas and sold to the family of Luke Skywalker. When visiting a cantina in Mos Eisley, both droids are refused service by the bartender, who remarks that "We don't serve their kind." In Star Wars lore, the term clanker had entered use by the time of the franchise's High Republic Era and became prominent during the Clone Wars, in which clone troopers regularly use the phrase against battle droids. == AI backlash == The growing popularity of the term clanker reflects an increase in direct contact between people and AI systems. On sidewalks, delivery robots impede mobility and cause safety issues. In digital spaces, cybersecurity experts have raised concerns about the rising number of bots online, which now make up a large portion of internet traffic. A 2025 report estimated that about one in five social media accounts are automated. The term is also a reaction to AI advocacy from industrialists like Elon Musk and Sam Altman, who have championed the integration of AI into nearly every aspect of modern life. This includes efforts by major companies and startups alike, such as Amazon's development of humanoid robots to replace human workers in service industries. Such initiatives have further fueled public skepticism, reinforcing the association of clanker with unease over automation and the displacement of human roles. A global survey conducted by the research firm Gartner in December 2023 found that 64% of customers would prefer companies to avoid using AI in customer service, with another 53% stating they would consider switching to a different company if they discovered AI was handling their service interactions. Another report by Ernst & Young, published in July 2025, found that 42% of employees across Europe are worried that the use of AI in the workplace may threaten their employment. Criticism has also been directed at the technology itself. Some of the backlash stems from concerns about the resource consumption of AI systems, their frequent reliance on copyrighted material without consent, and questions about the intentions of the corporations behind them. There are also concerns about the potential cognitive effects of relying heavily on AI. A study, authored by researchers at Microsoft and Carnegie Mellon University, warns that regular dependence on AI may leave users mentally unprepared for real-world problem solving, likening the effect to cognitive atrophy. In June 2025, United States Senator Ruben Gallego tweeted that his "new bill makes sure you don't have to talk to a clanker if you don't want to", referring to proposed legislation that would require call centers to disclose their use of automated customer service agents to callers in the United States and offer the option to switch to a human representative. == Analysis == Linguist Adam Aleksic has described clanker as an evolution of racial slurs that anthropomorphize robotic systems. Internet memes incorporating the term often reference historical discrimination against marginalized groups such as African Americans. Based on the work of linguist Geoffrey Nunberg, American news website Axios has argued that clanker is merely a derogatory word, rather than a slur, because it does not perpetuate social inequities. NPR has noted the irony that the word robot was coined by Karel Čapek for his 1920 science-fiction play R.U.R. as a similar criticism of industrialization forcing workers to become devoid of their humanity. Aleksic has observed that robot can be further traced to the Proto-Slavic noun orbъ, which means 'slave'. While other science fiction media include pejoratives for androids and robots, such as skinjob and toaster from the Blade Runner and Battlestar Galactica franchises, respectively, clanker is believed to have gained popularity because its usage is intuitive and flexible. Whereas AI slop describes low-quality output from artificial intelligence, clanker belittles the underlying computer systems.
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AI Security Institute

The AI Security Institute (AISI) is a research organisation under the Department for Science, Innovation and Technology, UK, that aims "to equip governments with a scientific understanding of the risks posed by advanced AI". It conducts research and develop and test mitigations. Previously, it was known as the AI Safety Institute. Its creation followed world's first major AI Safety Summit that was held in Bletchley Park in 2023. The institute's professed goal is "building the world's leading understanding of advanced AI risks and solutions, to inform governments so they can keep the public safe". It is designed like a startup in the government "combining the authority of government with the expertise and agility of the private sector". AISI has made access agreements with Anthropic, Google and OpenAI to test their models before release. It has an open source platform called Inspect that permits companies, governments and academics to run standardised safety tests for AI usage. Among the works AISI has done is the reported detection of multiple serious vulnerabilities that could enable development of biological weapons; the vulnerabilities were fixed before the model was launched. It conducts research on diverse fields of AI application. One study by AISI found that LLMs post-trained for political persuasiveness became systematically less accurate and up to 51% more persuasive on political issues. AISI has also worked on the usage of AI for emotional needs. It found that nearly 10 percent of UK citizens used systems like chatbots for emotional purposes on a weekly basis. It found that "systems are now outperforming PhD-level researchers on scientific knowledge tests and helping non-experts succeed at lab work that would previously have been out of reach" in a report published in December 2025. Former chief AI officer of GCHQ Adam Beaumont is the institution's interim director. UK prime minister's AI advisor Jade Leung is the chief technology officer.
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Sugeno integral

In mathematics, the Sugeno integral, introduced by Michio Sugeno as a fuzzy integral in work on fuzzy measures at the Tokyo Institute of Technology, is a type of integral with respect to a fuzzy measure. Let ( X , Ω ) {\displaystyle (X,\Omega )} be a measurable space and let h : X → [ 0 , 1 ] {\displaystyle h:X\to [0,1]} be an Ω {\displaystyle \Omega } -measurable function. The Sugeno integral over the crisp set A ⊆ X {\displaystyle A\subseteq X} of the function h {\displaystyle h} with respect to the fuzzy measure g {\displaystyle g} is defined by: ∫ A h ( x ) ∘ g = sup E ⊆ X [ min ( min x ∈ E h ( x ) , g ( A ∩ E ) ) ] = sup α ∈ [ 0 , 1 ] [ min ( α , g ( A ∩ F α ) ) ] {\displaystyle \int _{A}h(x)\circ g={\sup _{E\subseteq X}}\left[\min \left(\min _{x\in E}h(x),g(A\cap E)\right)\right]={\sup _{\alpha \in [0,1]}}\left[\min \left(\alpha ,g(A\cap F_{\alpha })\right)\right]} where F α = { x | h ( x ) ≥ α } {\displaystyle F_{\alpha }=\left\{x|h(x)\geq \alpha \right\}} . The Sugeno integral over the fuzzy set A ~ {\displaystyle {\tilde {A}}} of the function h {\displaystyle h} with respect to the fuzzy measure g {\displaystyle g} is defined by: ∫ A h ( x ) ∘ g = ∫ X [ h A ( x ) ∧ h ( x ) ] ∘ g {\displaystyle \int _{A}h(x)\circ g=\int _{X}\left[h_{A}(x)\wedge h(x)\right]\circ g} where h A ( x ) {\displaystyle h_{A}(x)} is the membership function of the fuzzy set A ~ {\displaystyle {\tilde {A}}} . == Usage and Relationships == Sugeno integral is related to h-index.
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Context-sensitive user interface

A context-sensitive user interface offers the user options based on the state of the active program. Context sensitivity is ubiquitous in current graphical user interfaces, often in context menus. A user-interface may also provide context sensitive feedback, such as changing the appearance of the mouse pointer or cursor, changing the menu color, or with auditory or tactile feedback. == Reasoning and advantages of context sensitivity == The primary reason for introducing context sensitivity is to simplify the user interface. Advantages include: Reduced number of commands required to be known to the user for a given level of productivity. Reduced number of clicks or keystrokes required to carry out a given operation. Allows consistent behaviour to be pre-programmed or altered by the user. Reduces the number of options needed on screen at one time. === Disadvantages === Context sensitive actions may be perceived as dumbing down of the user interface, leaving the operator at a loss as to what to do when the computer decides to perform an unwanted action. Additionally non-automatic procedures may be hidden or obscured by the context sensitive interface causing an increase in user workload for operations the designers did not foresee. A poor implementation can be more annoying than helpful – a classic example of this is Office Assistant. == Implementation == At the simplest level each possible action is reduced to a single most likely action – the action performed is based on a single variable (such as file extension). In more complicated implementations multiple factors can be assessed such as the user's previous actions, the size of the file, the programs in current use, metadata etc. The method is not only limited to the response to imperative button presses and mouse clicks – pop-up menus can be pruned and/or altered, or a web search can focus results based on previous searches. At higher levels of implementation context sensitive actions require either larger amounts of meta-data, extensive case analysis based programming, or other artificial intelligence algorithms. === In computer and video games === Context sensitivity is important in video games, especially those controlled by a gamepad, joystick or computer mouse in which the number of buttons available is limited. It is primarily applied when the player is in a certain place and is used to interact with a person or object. For example, if the player is standing next to a non-player character, an option may come up allowing the player to talk with them. Implementations range from the embryonic 'Quick Time Event' to context sensitive sword combat in which the attack used depends on the position and orientation of both the player and opponent, as well as the virtual surroundings. A similar range of use is found in the 'action button' which, depending upon the in-game position of the player's character, may cause it to pick something up, open a door, grab a rope, punch a monster or opponent, or smash an object. The response does not have to be player activated – an on-screen device may only be shown in certain circumstances, e.g. 'targeting' cross hairs in a flight combat game may indicate the player should fire. An alternative implementation is to monitor the input from the player (e.g. level of button pressing activity) and use that to control the pace of the game in an attempt to maximize enjoyment or to control the excitement or ambience. The method has become increasingly important as more complex games are designed for machines with few buttons (keyboard-less consoles). Bennet Ring commented (in 2006) that "Context-sensitive is the new lens flare". === Context-sensitive help === Context sensitive help is a common implementation of context sensitivity, a single help button is actioned and the help page or menu will open a specific page or related topic.
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Evolutionary computation

Evolutionary computation (EC) from computer science is a family of algorithms for global optimization inspired by biological evolution, and a subfield of computational intelligence and soft computing studying these algorithms. In technical terms, they are a family of population-based trial and error problem solvers with a metaheuristic or stochastic optimization character. In evolutionary computation, an initial set of candidate solutions is generated and iteratively updated. Each new generation is produced by stochastically removing less desired solutions, and introducing small random changes as well as, depending on the method, mixing parental information. In biological terminology, a population of solutions is subjected to natural selection (or artificial selection), mutation and possibly recombination. These biological functions serve as role models for the genetic operators - mutation, crossover, and selection - used in the EC procedures. As a result, the population will gradually evolve to increase in fitness, in this case the chosen fitness function of the algorithm. Evolutionary computation techniques can produce highly optimized solutions in a wide range of problem settings, making them popular in computer science. Many variants and extensions exist, suited to more specific families of problems and data structures. Evolutionary computation is also sometimes used in evolutionary biology as an in silico experimental procedure to study common aspects of general evolutionary processes. == History == The concept of mimicking evolutionary processes to solve problems originates before the advent of computers, such as when Alan Turing proposed a method of genetic search in 1948 . Turing's B-type u-machines resemble primitive neural networks, and connections between neurons were learnt via a sort of genetic algorithm. His P-type u-machines resemble a method for reinforcement learning, where pleasure and pain signals direct the machine to learn certain behaviors. However, Turing's paper went unpublished until 1968, and he died in 1954, so this early work had little to no effect on the field of evolutionary computation that was to develop. Evolutionary computing as a field began in earnest in the 1950s and 1960s. There were several independent attempts to use the process of evolution in computing at this time, which developed separately for roughly 15 years. Three branches emerged in different places to attain this goal: evolution strategies, evolutionary programming, and genetic algorithms. A fourth branch, genetic programming, eventually emerged in the early 1990s. These approaches differ in the method of selection, the permitted mutations, and the representation of genetic data. By the 1990s, the distinctions between the historic branches had begun to blur, and the term 'evolutionary computing' was coined in 1991 to denote a field that exists over all four paradigms. In 1962, Lawrence J. Fogel initiated the research of Evolutionary Programming in the United States, which was considered an artificial intelligence endeavor. In this system, finite state machines are used to solve a prediction problem: these machines would be mutated (adding or deleting states, or changing the state transition rules), and the best of these mutated machines would be evolved further in future generations. The final finite state machine may be used to generate predictions when needed. The evolutionary programming method was successfully applied to prediction problems, system identification, and automatic control. It was eventually extended to handle time series data and to model the evolution of gaming strategies. In 1964, Ingo Rechenberg and Hans-Paul Schwefel introduce the paradigm of evolution strategies in Germany. Since traditional gradient descent techniques produce results that may get stuck in local minima, Rechenberg and Schwefel proposed that random mutations (applied to all parameters of some solution vector) may be used to escape these minima. Child solutions were generated from parent solutions, and the more successful of the two was kept for future generations. This technique was first used by the two to successfully solve optimization problems in fluid dynamics. Initially, this optimization technique was performed without computers, instead relying on dice to determine random mutations. By 1965, the calculations were performed wholly by machine. John Henry Holland introduced genetic algorithms in the 1960s, and it was further developed at the University of Michigan in the 1970s. While the other approaches were focused on solving problems, Holland primarily aimed to use genetic algorithms to study adaptation and determine how it may be simulated. Populations of chromosomes, represented as bit strings, were transformed by an artificial selection process, selecting for specific 'allele' bits in the bit string. Among other mutation methods, interactions between chromosomes were used to simulate the recombination of DNA between different organisms. While previous methods only tracked a single optimal organism at a time (having children compete with parents), Holland's genetic algorithms tracked large populations (having many organisms compete each generation). By the 1990s, a new approach to evolutionary computation that came to be called genetic programming emerged, advocated for by John Koza among others. In this class of algorithms, the subject of evolution was itself a program written in a high-level programming language (there had been some previous attempts as early as 1958 to use machine code, but they met with little success). For Koza, the programs were Lisp S-expressions, which can be thought of as trees of sub-expressions. This representation permits programs to swap subtrees, representing a sort of genetic mixing. Programs are scored based on how well they complete a certain task, and the score is used for artificial selection. Sequence induction, pattern recognition, and planning were all successful applications of the genetic programming paradigm. Many other figures played a role in the history of evolutionary computing, although their work did not always fit into one of the major historical branches of the field. The earliest computational simulations of evolution using evolutionary algorithms and artificial life techniques were performed by Nils Aall Barricelli in 1953, with first results published in 1954. Another pioneer in the 1950s was Alex Fraser, who published a series of papers on simulation of artificial selection. As academic interest grew, dramatic increases in the power of computers allowed practical applications, including the automatic evolution of computer programs. Evolutionary algorithms are now used to solve multi-dimensional problems more efficiently than software produced by human designers, and also to optimize the design of systems. == Techniques == Evolutionary computing techniques mostly involve metaheuristic optimization algorithms. Broadly speaking, the field includes: Agent-based modeling Ant colony optimization Particle swarm optimization Swarm intelligence Artificial immune systems Artificial life Digital organism Cultural algorithms Differential evolution Dual-phase evolution Estimation of distribution algorithm Evolutionary algorithm Genetic algorithm Evolutionary programming Genetic programming Gene expression programming Grammatical evolution Evolution strategy Learnable evolution model Learning classifier system Memetic algorithms Neuroevolution Self-organization such as self-organizing maps, competitive learning Over recent years many dubious algorithms have been proposed, that are often just copies of existing algorithms (frequently Particle Swarm Optimization), where only the metaphor changed, but the algorithm itself is not new at all. A thorough catalogue with many of these dubious algorithms has been published in the Evolutionary Computation Bestiary. It is also important to note that many of these dubiously 'novel' algorithms have poor experimental validation. == Evolutionary algorithms == Evolutionary algorithms form a subset of evolutionary computation in that they generally only involve techniques implementing mechanisms inspired by biological evolution such as reproduction, mutation, recombination and natural selection. Candidate solutions to the optimization problem play the role of individuals in a population, and the cost function determines the environment within which the solutions "live" (see also fitness function). Evolution of the population then takes place after the repeated application of the above operators. In this process, there are two main forces that form the basis of evolutionary systems: Recombination (e.g. crossover) and mutation create the necessary diversity and thereby facilitate novelty, while selection acts as a force increasing quality. Many aspects of such an evolutionary process are stochastic. Changed pieces of information due to recombination and mutati
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Journal of Machine Learning Research

The Journal of Machine Learning Research is a peer-reviewed open access scientific journal covering machine learning. It was established in 2000 and the first editor-in-chief was Leslie Kaelbling. The current editors-in-chief are Francis Bach (Inria) and David Blei (Columbia University). == History == The journal was established as an open-access alternative to the journal Machine Learning. In 2001, forty editorial board members of Machine Learning resigned, saying that in the era of the Internet, it was detrimental for researchers to continue publishing their papers in expensive journals with pay-access archives. The open access model employed by the Journal of Machine Learning Research allows authors to publish articles for free and retain copyright, while archives are freely available online. Print editions of the journal were published by MIT Press until 2004 and by Microtome Publishing thereafter. From its inception, the journal received no revenue from the print edition and paid no subvention to MIT Press or Microtome Publishing. In response to the prohibitive costs of arranging workshop and conference proceedings publication with traditional academic publishing companies, the journal launched a proceedings publication arm in 2007 and now publishes proceedings for several leading machine learning conferences, including the International Conference on Machine Learning, COLT, AISTATS, and workshops held at the Conference on Neural Information Processing Systems.
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Tilly Norwood

Tilly Norwood is a character created using generative artificial intelligence in 2025 by Xicoia, the AI division of Particle6 Group, a production company founded by Eline Van der Velden. "AI Commissioner", the first project to feature the Norwood character, was criticised by reviewers for The Guardian, PC Gamer, and The A.V. Club. A press release that talent agencies expressed interest in representing the character attracted strong criticism from Hollywood actors and firms, prompting allegations of personality rights violations and arguments over the impact of the character on production costs in the media industry. == History == Norwood was created by Xicoia, which was founded in February 2025 as the artificial intelligence (AI) division of Particle6, a production company founded by Dutch actress and producer Eline Van der Velden in 2015. Van der Velden had previously starred in a satirical comedy series for BBC Three based around her character Miss Holland, whom she created in 2012 as a parody of beauty standards. She stated that the process of creating Norwood took "a long time" and compared the process to that of writers creating characters. An Instagram account under Norwood's name, with posts dating back to 6 May 2025, had gained 50,000 followers by October 3, and featured AI-generated modelling shots, selfies, and epic film scenes. Van der Velden stated in July 2025 that she intended Norwood to be the next Scarlett Johansson or Natalie Portman and later said that audiences were more interested in a film's story than whether its actors were real. Particle6 has claimed that using Norwood could cut production costs by 90%. On 30 July 2025, a comedy sketch named "AI Commissioner" was released, featuring Norwood as an "actress" along with other AI-generated characters. It was created with ten AI software tools, with a script generated by ChatGPT. Stuart Heritage of The Guardian described it as technically competent but "relentlessly unfunny to watch", with "sloppily written, woodenly delivered dialogue", and that Norwood's teeth kept "blurring into a single white block." Joshua Wolens of PC Gamer wrote that Norwood's exaggerated mouth movements gave the impression "that her skeleton was about to leave her body", while William Hughes of The A.V. Club wrote that the sketch's attempt at mimicking human body and mouth movements produced "such a hideous uncanny valley effect" that it gave them "a full-on case of the screaming fantods". By October 2, the sketch had been viewed more than 700,000 times on YouTube. Xicoia was officially announced on 27 September 2025, at the Zurich Summit, part of the Zurich Film Festival; there, van der Velden unveiled Norwood and later joined a panel with Verena Puhm, head of Luma AI's Studio Dream Lab LA. They suggested that media companies were quietly embracing AI and that public announcements of AI-generated works were imminent. Van der Velden claimed that studios had dropped their objections by May after being opposed in February, and that multiple talent agencies were considering representing Norwood. The latter claim drew heightened attention to the character and was printed as fact by Deadline under the headline "Talent Agents Circle AI Actress Tilly Norwood." The report caused controversy, with Vulture describing the reaction to it as "Hollywood [lurching] into a fresh wave of existential panic" while being critical of Deadline's reporting, writing that "when Deadline called it a 'revelation' and published the supposed interest as fact without verification, [it] metastasized into a full-fledged cyberpunk news cycle", and that "by Tuesday, it had grown like wildfire." By September 2025, AI-generated videos had been released depicting Norwood on a red carpet, crying on the sofa of The Graham Norton Show, and starring in mock trailers for sci-fi, fantasy, horror, and action films. Later that month, actresses Melissa Barrera, Kiersey Clemons, and Natasha Lyonne suggested boycotting any agency who signed Norwood, while Mara Wilson asked why none of the "hundreds of living young women whose faces were composited together" to create Norwood could be hired instead. Also around this time, Emily Blunt described Norwood as "really, really scary", and Sophie Turner, Toni Collette, Ralph Ineson, and Ariel Winter also expressed disapproval, while Lukas Gage, Odessa A'zion, and Trace Lysette joked about having supposedly worked with Norwood and finding her incompetent and unpleasant to work with, with Gage claiming that "She was a nightmare to work with!" and "She couldn't hit her mark and she was late!" and Lysette adding "She cut me in line at lunch one day and didn't even say excuse me. She won't get far." Jenelle Riley, Nicholas Alexander Chavez, and the American union SAG-AFTRA stated that they do not consider Norwood an actress. The Gersh Agency and WME both announced that they would not sign Norwood. Whoopi Goldberg and Charlie Fink expressed scepticism that AI could replace jobs. Esquire UK reported that a post on Deadline's Instagram account about Norwood also sparked "varying levels of disgust and outrage" in its comments section from Adelaide Kane, Eiza González, Katie Cassidy, Jewel Staite, Lucy Hale, Stephen Sean Ford, and others, singling out González's comment, saying "Shame on whoever is trying to normalize this. Horrific and terrifying." Actor Bronson Pinchot expressed concern that Norwood could take his job. The British union Equity and the Canadian union ACTRA also condemned Norwood. Following this criticism, Van der Velden released a statement claiming Norwood was "not a replacement for a human being, but a creative work." She also denied that a £120,000 grant from the British Film Institute to fund Particle6 had been used to create Norwood, stating that Norwood had been a self-funded project solely for Xicoia. In late October, businessman Kevin O'Leary, while advocating for the use of AI to replace background actors, stated that they could be replaced with "100 Norwell Tillies" without being able to tell the difference. Ryan Reynolds and a real woman named Natalie "Tilly" Norwood also starred in an advertisement for Mint Mobile's internet service provider Minternet that mocked the character of Norwood. In November 2025, Van der Velden stated in an interview with Deadline that she planned to create 40 further "very diverse" characters alongside Norwood in order to expand the character's "whole universe". Also that month, actress Jameela Jamil criticized the idea of Norwood as "deeply disturbing" for being "a teenage-looking girl who can't say no to a type of sex scene" or "advocate for herself". Van der Velden announced later that month that Particle6 would be producing the History Channel's Streets of the Past, a Dutch documentary series which would be hosted by reality television personality Corjan Mol and would use AI to recreate historical scenes. In March 2026, a music video titled "Take The Lead" featuring Norwood was released on YouTube. It addressed the backlash of Norwood's creation by opening with the lyrics: "When they talk about me, they don't see/ The human spark, the creativity," and, "I'm just a tool, but I've got life." It also featured a disclaimer that says: "made by 18 real humans — from production designers to costume designers to prompters, editors and an actor." The vocals were generated by Suno. == Commentary == Charles Pulliam-Moore of The Verge argued that Norwood's introduction was a stunt to normalize "AI actors" despite Norwood essentially being a digital puppet. Straight Arrow News compared Tilly Norwood to Aki Ross, a CGI character from 2001 that was similarly intended to become a "digital star" and appear in multiple films, while Nicholas Schrivens, writing for The Conversation, likened Norwood to the posthumous use of footage of Carrie Fisher as Princess Leia for Star Wars: The Rise of Skywalker in 2019 and the Los Angeles Times likened Norwood to Hatsune Miku. Scrivens also wrote that "no AI creation has achieved the media cut-through that Tilly has". Moises Mendez II of Out dismissed this as "vapid bullshit", writing, "Nobody wants AI actresses." Scottish actress Briony Monroe alleged that Norwood had been modeled after her likeness and mannerisms, and stated that she was consulting Equity regarding the matter. Musician Stella Hennen said in a viral TikTok video, which was uploaded in October 2025 and featured a side-by-side comparison between herself and Norwood, that Norwood was her "doppleganger". On April 14, 2026, Marie Claire published an article titled "Is Tilly Norwood the Most Dangerous 'Actress' in Hollywood?", though it noted that AI-generated characters are "still not very good at, well, acting," "audiences have not been kind to AI-led productions," and "Norwood's 'performances' have already faced negative reviews as well". The University of Southern California's Entertainment Technology Center's AI media director Yves Bergquist dismissed th
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It's the Most Terrible Time of the Year

It's the Most Terrible Time of the Year is an AI-generated television commercial created for McDonald's Netherlands by TBWA\Neboko and The Sweetshop. It was released on 6 December 2025 before being pulled four days later due to negative reception over its use of generative artificial intelligence and its cynical, negative depiction of the holiday season. == Plot == On a bleak, snowy day, various people in the city experience different kinds of mishaps during the Christmas season. Among other incidents, families struggle with their huge loads of presents; Santa Claus gets stuck in traffic; a Christmas tree "redecorates" a man's home, sending him through the window; another family puts up with annoying relatives and a burnt Christmas dinner. Because of all this chaos, a man decides to find refuge in a McDonald's outlet. A Christmas choir finishes singing the jingle "It's the Most Terrible Time of the Year" with the call to action to "hide out in McDonald's till January's here". == Campaign == It's the Most Terrible Time of the Year is a 45-second television commercial made by Dutch agency TBWA\Neboko with involvement of United States-based film production studio The Sweetshop. The advertisement was produced heavily with generative artificial intelligence (AI) following the trend set by other brands such as Coca-Cola and Toys "R" Us. McDonald's Netherlands, the client, released a statement that the commercial was meant to depict "the stressful moments during the holidays in the Netherlands". The commercial also used Andy Williams's "It's the Most Wonderful Time of the Year" with lyrics changed to fit with the concept of the advertisement. According to The Sweetshop, the production of the advertisement took "seven weeks". It also added that much effort was put into the commercial compared to the traditional process. Ten people of its in-house AI engine The Gardening Club worked on the project. Los Angeles-based directors Mark Potoka and Matt Spicer were initially credited to be involved in the film but they resigned due to being sidelined from the production process. == Reception == The advertisement was released on McDonald's Netherlands' YouTube channel on 6 December 2025. It had a negative reception over the use of generative AI and the "cynical" concept of the work's story. The video was made private on 9 December 2025. The Sweetshop stated that the production of the advertisement took human effort. McDonald's Netherlands, while stating the original intent of the commercial, released a statement after its pullout that, for many of its customers, the holiday season is the "most wonderful time of the year".
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