AI Coding Wiki

AI Coding Wiki — independent reviews, comparisons, pricing and step-by-step guides on Aizhi.

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  Deluxe Paint

  Deluxe Paint, often referred to as DPaint, is a bitmap graphics editor created by Dan Silva for Electronic Arts and published for the then-new Amiga 1000 in November 1985. A series of updated versions followed, some of which were ported to other platforms. An MS-DOS release with support for the 256 color VGA standard became popular for creating pixel graphics in video games in the 1990s. Author Dan Silva previously worked on the Cut & Paste word processor (1984), also from Electronic Arts. == History == Deluxe Paint began as an in-house art development tool called Prism. As author Dan Silva added features to Prism, it was developed as a showcase product to coincide with the Amiga's debut in 1985. Upon release, it was quickly embraced by the Amiga community and became the de facto graphics (and later animation) editor for the platform. Amiga manufacturer Commodore International later commissioned EA to create version 4.5 AGA to bundle with the new Advanced Graphics Architecture chipset (A1200, A4000) capable Amigas. Version 5 was the last release after Commodore's bankruptcy in 1994. Early versions of Deluxe Paint were available in protected and non copy-protected versions, the latter retailing for a slightly higher price. The copy protection scheme was later dropped. Deluxe Paint was first in a series of products from the Electronic Arts Tools group—then later moved to the ICE (for Interactivity, Creativity, and Education) group—which included such Amiga programs as Deluxe Music Construction Set (preceded by Music Construction Set for the Apple II), Deluxe Video, and the Studio series of paint programs for the Mac. With the development of Deluxe Paint, EA introduced the ILBM and ANIM file format standards for graphics. While widely used on the Amiga, these formats never gained widespread end user acceptance on other platforms, but were heavily used by game development companies. Deluxe Paint was used by LucasArts to make graphics for their adventure games such as The Secret of Monkey Island, and the name of a particular filename used to store the main protagonist Guybrush Threepwood was probably at the origin of his peculiar name. One of the main artist developer of the game, Mark Ferrari, in an interview for The Making of Monkey Island 30th Anniversary Documentary remembers that "there was a pulldown menu in DPaint called brushes, so character sprites were referred to as brushes", and the male protagonist was simply "the guy.brush" until the artist Steve Purcell suggested to take the very name "Guybrush". The author Ron Gilbert remembers that the PC DOS version of the file was named "guybrush.bbm". == Versions == === Amiga === Deluxe Paint I was released in 1985. A major feature was animation by using color cycling. The Amiga natively supports indexed color, where a pixel's color value does not carry any RGB hue information but instead is an index to a color palette (a collection of unique color values). By adjusting the color value in the palette, all pixels with that palette value change simultaneously in the image or animation, creating cyclic movement in the image. In the Christmas demo files on the Deluxe Paint I disk, this kind of animation (which is toggled by pressing the tab key) is used to depict falling snowflakes, a blinking Christmas tree, and a roaring fire in the fireplace. In 1986, Deluxe Paint II was introduced, which added many convenient features such as pattern and gradient fill, which could be selected by right-clicking on a fill tool. An effects menu with e.g. perspective transformation was also added. The screen format could now be changed from a dedicated selection page. Deluxe Paint III appeared in 1989 and added support for Extra Halfbrite. New editing modes allowed one to stencil certain colors to protect them, so it is possible to e.g. paint a landscape from front to back, with the foreground protected by a stencil. A major new feature of Deluxe Paint III was the ability to create cel-like animation, and animbrushes (1MB of RAM is needed for animation). These let the user pick up a section of an animation as an "animbrush", which can then be placed onto the canvas while it animates. Deluxe Paint III was one of the first paint programs to support animbrushes. This is similar to copy and paste, except one can pick up more than one image. Deluxe Paint IV (introduced in 1991), which did not include Silva as the lead programmer, offered significant new features like non-bitplane-indexed Hold-and-Modify support for creating images with up to 4,096 colors. Animation support was improved by adding a light table, i.e. onion skinning, and AnimBrush morphing. The color mixer was now a HAM region at the bottom of the screen (instead of a floating window as before) and allowed mixing adjacent colors similar to a real palette. Deluxe Paint 4.5 AGA appeared the following year, addressing the stability issues and providing support for the new A1200 and A4000 AGA machines and a revamped screen mode interface. It appeared in both standalone and Commodore-bundled versions. The final release, Deluxe Paint V, in 1995, supported true 24-bit RGB images. However, using only the AGA native chipset, the 24-bit RGB color was only held in computer memory, the on-screen image was displayed in HAM8 (18-bit color). === Apple IIGS === DeluxePaint II for the Apple IIGS was developed by Brent Iverson and released in 1987. === MS-DOS === Deluxe Paint II for MS-DOS was released in 1988, It required MS-DOS 2.0 and 640 kB of RAM. It supports CGA, EGA, MCGA, VGA, Hercules and Tandy IBM PC-compatible graphic cards. Deluxe Paint II Enhanced was released in 1989, requiring MS-DOS 2.11 and 640 kB of RAM. It supports resolutions up to 800x600 pixels with 256 colors. Deluxe Paint II Enhanced 2.0, released in 1994, was the most successful MS-DOS version, and was compatible with PC Paintbrush PCX image files. The MS-DOS conversion was done by Brent Iverson with the enhanced features by Steve Shaw. It supports CGA, EGA, MCGA, VGA, Hercules, Tandy, and Amstrad video cards, as well as early Super VGA video cards enabling it to support up to 800 × 600 with 256 (from 262,144) colors and 1024 × 768 with 16 colors. The sister product Deluxe Paint Animation (only for 320×200 pixels and 256 colors) was widely used, especially in video game development. === Atari ST === Deluxe Paint ST was developed by ArtisTech Development, published by Electronic Arts, and was released in 1990. It supports the Atari STE 4096 color palette and animated graphics. Features advertised for the Atari ST version include 3D perspective, design your own fonts, mirror symmetry, multi-color airbrushing & animations, printing up to poster size, split-screen magnification with variable zoom, and working on animations (including multiple animations). == Workflow == "[" and "]" hotkeys step through the indexed palette, turning indexed-pixel-painting into a fast two-handed mouse+keys process, and the right mouse button paints with the background color. For example, transparency is obtained as simply as selecting a background color index (a single right click on the palette GUI to change). colors could be locked from editing by use of a stencil (a list of color indices whose pixels should not be altered in the image data) and simple color-cycling animations could be created using contiguous entries in the palette. This was easy to change the hue and tone of a section of the image by altering the corresponding colors in the palette. (The specific section needed to use a dedicated part of the palette for this technique to work.) Brushes can be cut from the background by using the box, freehand, or polygon selection tools. They can then be used in the same manner as any other brush or pen. This functionality is simpler to use than the "stamp" tool of Photoshop or Alpha Channels as provided in later programs. Brushes can be rotated and scaled, even in 3D. After a brush is selected, it appears attached to the mouse cursor, providing an exact preview of what will be drawn. This allows precise pixel positioning of brushes. Animations stored in IFF ANIM format are delta compressed making animations both smaller and faster to playback. == Reception == Compute! criticized the documentation of the first release of DeluxePaint as inadequate, but stated that "DeluxePaint is a visual arts program of immense scope and flexibility". In later versions the documentation was much improved; for instance DeluxePaint IV came with a 300-page manual. Deluxe Paint was a hit for EA. The main line of the series, particularly installments one to three, has won a total of at least nine awards from independent publications and organizations, including three Amiga-specific awards. Deluxe Paint III also won Commodore International's Enterprise and Vision award in 1990, becoming the first software to win the award, for what the company's judges believed to be best utilizing the Amiga's graphical capabilities. Deluxe Pai

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  DARPA Prize Competitions

  Over the years, the U.S. Defense Advanced Research Projects Agency (DARPA) has conducted numerous prize competitions to spur innovation. A prize competition allows DARPA to establish an ambitious goal, opening the door to novel approaches from the public that might otherwise appear too risky for experts in a particular field to pursue. == Statutory authorities == In 1999, Congress provided prize competition authority to DARPA in the National Defense Authorization Act for Fiscal Year 2000 (P.L. 106–65), 10 U.S.C. § 4025, formerly 10 U.S.C. §2374a. DARPA also conducts prize competitions under the America COMPETES Act, 15 U.S.C. § 3719. == Recent prize competitions == DARPA Grand Challenge (2004 and 2005) was a prize competition to spur the development of autonomous vehicle technologies. The $1 million prize went unclaimed as no vehicles could complete the challenging desert route from Barstow, CA, to Primm, NV, on March 13, 2004. A year later, on October 8, 2005, the Stanford Racing Team won the $2 million prize during the second competition of the Grand Challenge in the desert Southwest near the California/Nevada state line. DARPA Urban Challenge (2007) required the competitors to build an autonomous vehicle capable of driving in traffic and performing complex maneuvers such as merging, passing, parking, and negotiating intersections. On November 3, 2007, the Carnegie Mellon Team won the $2 million prize, and its vehicle became the first autonomous vehicle that interacted with both manned and unmanned vehicle traffic in an urban environment. DARPA Network Challenge (Red Balloon Challenge) (2009) explored the roles that the Internet and social networking play in solving broad-scope, time-critical problems. On December 5, 2009, the Massachusetts Institute of Technology team won $40,000 by locating the ten moored, eight-foot, red weather balloons at ten places in the United States within seven hours. DARPA Digital Manufacturing Analysis, Correlation and Estimation Challenge (DMACE) (2010) was a three-month contest to showcase the potential of digital manufacturing of advanced materials. The University of California at Santa Barbara team won a $50,000 prize for crushing 180 digitally manufactured (DM) titanium mesh spheres with the most accurate predictive model of the components’ properties. DARPA Shredder Challenge (2011) was to identify and assess potential capabilities and vulnerabilities to sensitive information in the national security community. Participating teams must download the images of the documents shredded into more than 10,000 pieces from the Challenge website, reconstruct the documents, and solve the five puzzles. Of almost 9,000 teams, the San Francisco-based All Your Shreds Are Belong to U.S team won the $50,000 prize. DARPA UAVForge Challenge (2011-2012) aimed to build and test a user-intuitive, backpack-portable unmanned aerial vehicle (UAV) that could quietly fly in and out of critical environments to conduct sustained surveillance for up to three hours. The $100,000 prize was not claimed because none of the 140 teams met the technical matrix. DARPA Cash for Locating & Identifying Quick Response Codes (CLIQR) Quest Challenge (2012) explored the role the Internet and social media played in the timely communication, wide-area team-building, and urgent mobilization required to solve broad scope, time-critical problems. The challenge offered $40,000 to the first individual or team that could locate seven posters appearing in U.S. cities bearing the DARPA logo and a quick response code (QR) within 15 days. No team found and submitted all seven codes. DARPA Fast Adaptable Next-Generation Ground Vehicle (FANG) Challenge (2012-2013) was to use three competitions for the design of an infantry fighting vehicle, culminating in prototypes. In April 2013, DARPA awarded US$1 million to a three-man team during the first competition. DARPA decided not to proceed with the second and third competitions as originally planned and transitioned the technologies to the defense and commercial industry through the Digital Manufacturing and Design Innovation Institute (DMDII). DARPA Spectrum Challenge (2013-2014) sought to demonstrate how a software-defined radio can use a given communication channel in the presence of other users and interfering signals. Three teams emerged as the overall winners, winning a total of $150,000 in prizes. DARPA Chikungunya (CHIKV) Challenge (2014-2015) was a health-related effort to develop the most accurate predictions of CHIKV cases for all Western Hemisphere countries and territories between September 2014 and March 2015. On May 12, 2015, DARPA awarded $500,000 in prizes to the 11 winners of the competition during a scientific review DARPA Robotics Challenge (DRC) (2013-2015) aimed to develop semi-autonomous ground robots that could do "complex tasks in dangerous, degraded, human-engineered environments." A South Korean team won the first prize of $2 million, and two U.S. teams won $1 million and $500,000 as second and third winners. DARPA Cyber Grand Challenge (CGC) (2014 - 2016) was to “create automatic defensive systems capable of reasoning about flaws, formulating patches and deploying them on a network in real time.” The top three winners were awarded prizes of $2 million, $1 million, and $750,000, respectively. DARPA Spectrum Collaboration Challenge (SC2) (2016-2019) aimed to encourage the development of AI-enabled wireless networks to “ensure that the exponentially growing number of military and civilian wireless devices would have full access to the increasingly crowded electromagnetic spectrum.” A team from the University of Florida won the overall top prize of US$2 million at the final SC2 competition. DARPA Subterranean (SubT) Challenge (2017-2021) was to develop robotic technologies to map, navigate, search and exploit complex underground environments. The first-place winners of the system final competition and of the virtual final competition were awarded $2 million and $750,000, respectively, with multiple prizes awarded to the second and third-place winners. DARPA Launch Challenge (2018-2020) was a $12 million satellite launch challenge to demonstrate responsive and flexible space launch capabilities from the small launch providers and was to culminate in two separate launch competitions where the competitors must launch a satellite to low Earth orbit (LEO) within days of each other at different locations in the United States. The competition ended without a winner. DARPA Forecasting Floats in Turbulence (FFT) Challenge (2021) was to spur technologies that could predict the location of sea drifters or floats within 10 days. DARPA awarded $25,000 for first place, with prizes of $15,000 and $10,000 for second place and third place. DARPA Artificial Intelligence Cyber Challenge (AIxCC) (2023–2025) was a two-year challenge and asks competitors to design novel AI systems to secure critical software code on which Americans rely. The total prize money is $29.5 million. In March 2024, the Advanced Research Projects Agency for Health (ARPA-H) partnered with DARPA, contributing an additional $20 million to the competition's prize pool to address software vulnerabilities in medical devices, hospital IT, and biotech equipment. AIxCC collaborates with Google, Microsoft, OpenAI, Anthropic, Linux Foundation, Open Source Security Foundation, Black Hat USA, and DEF CON, all of which provide AIxCC with access to large language models. In August 2024, AIxCC held the semifinal at DEF CON in Las Vegas. DARPA and ARPA-H tested all 42 submissions by running them through various open-source coding projects with deliberately injected vulnerabilities and scored the tools based on their effectiveness in identifying and fixing security flaws. Seven teams, each winning $2 million in the semifinals, competed in the final round of the AIxCC at the August 2025 DEF CON conference. Team Atlanta won first place with a $4 million prize for its cyber reasoning systems, which identified and patched vulnerabilities across 54 million lines of code. DARPA Triage Challenge (2023 – 2026) aims to spur the development of novel physiological features for medical triage, with a total prize money of $7 million. In October 2024, Challenge Event 1 was held in Perry, Georgia, featuring to-scale replicas of disaster sites such as an airplane crash and Hurricane Katrina, and teams competed based on how closely their data aligned with the agency’s official data and how quickly and accurately their autonomous systems could identify individuals most urgently in need of medical care. DARPA concluded the second year of competitions and, in November 2025, named the top performers in systems and data categories, which will advance to the final 2026 competition. The DARPA Lift Challenge (2025-2026) is for participants to design unmanned aerial systems capable of carrying up to four times their own weight, with a minimum payload of 110 pounds. Acco

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  We Appreciate Power

  "We Appreciate Power" is a song by Canadian musician Grimes, featuring American musician Hana. It was released on November 29, 2018, billed as the lead single from her fifth studio album Miss Anthropocene, however it is only available on the Japanese and deluxe releases. The song was written and produced by Grimes, Poppy (originally), Hana and Chris Greatti. == Background and release == The song was supposed to be one of two collaborations between Grimes and American singer Poppy, for the latter's second studio album Am I a Girl?. In an interview, Poppy mentioned that she wrote two songs with Grimes; one about "destroying things" and another about "power". The other song, "Play Destroy", was featured on the album. Grimes shared a lyric of the song with a photo of her with Poppy on Twitter in May 2018. Following feuds between the two singers, the song was released by Grimes featuring singer Hana instead. On November 26, Grimes announced she would be releasing new music on November 29. Two days later, she revealed that the single is titled "We Appreciate Power" and features Hana, and shared the artwork. The release of the song was accompanied by a lyric video directed by Grimes and her brother Mac Boucher. == Music and lyrics == "We Appreciate Power" is an industrial rock, nu metal, and techno-industrial song. The track is regarded as a further step into Grimes's experimentation with guitars that started on 2015's Art Angels. The track was compared to the works of Nine Inch Nails; Jillian Mapes of Pitchfork described the song as "an immediate onslaught of mutilated noise—distorted metal guitar chug, bloody screams, a guitar loop that conjures fear and demands worship. Flashes of Nine Inch Nails' Pretty Hate Machine reverberate through the drum programming and synths." Brendan Klinkenberg of Rolling Stone placed the song "somewhere between power pop and straightforward industrial (with an extended bridge reminiscent of the most sweeping moments in a Final Fantasy score)" and "a distinctly 2018 take on Nine Inch Nails-esque hard-edged rock." A press release stated that the song was inspired by the North Korean band Moranbong and was written "from the perspective of a Pro-A.I. Girl Group Propaganda machine who use song, dance, sex and fashion to spread goodwill towards Artificial Intelligence." In addition Grimes stated that by simply listening to the song you will be reducing your risk of ending up on any future AI overlord's hit list when it reigns supreme, mirroring the Roko's basilisk theory. Lyrically, the song touches on transhumanist ideas such as the betterment and future of the human race, the possibilities of merging consciousness with machines to extend life indefinitely through mind uploading, and the idea that reality may be simulated. The song's chorus generated a spike in interest in the word "capitulate". == Critical reception == Pitchfork critic Jillian Mapes wrote: "If "Freak on a Leash" isn't a dealbreaker, then the supervillain allure of "We Appreciate Power" might pull you in (it legitimately slaps), but it just as well may leave you weighed down by Grimes' commitment to the absolute darkest timeline." Billboard's Gil Kaufman described the song as "a dystopian, aggressive dive into a more rock-leaning sound." Similarly, Brendan Klinkenberg of Rolling Stone called it "the most aggressive single Grimes has released to date" Noisey called the song "an absolute motherfucker of a single" and opined it sounds "like a K-pop band covering nu-metal". Justin Kamp of Paste described the track as a "glitchy empowerment anthem that chugs along on screeching synths and Grimes' repeated exultations of power." == Personnel == Credits adapted from Tidal. Grimes – vocals, guitar, production, engineering Hana – vocals, guitar, additional production Chris Greatti – guitar, keyboards, production, engineering Zakk Cervini – mixing == Track listing == == Charts ==

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  Stephanie Dinkins

  Stephanie Dinkins (born 1964) is a transdisciplinary American artist based in Brooklyn, New York. She creates art about artificial intelligence (AI) as it intersects race, gender, and history. Her aim is to "create a unique culturally attuned AI entity in collaboration with coders, engineers and in close consultation with local communities of color that reflects and is empowered to work toward the goals of its community." Dinkins projects include Conversations with Bina48, a series of conversations between Dinkins and the first social, artificially intelligent humanoid robot BINA48 who looks like a black woman and Not the Only One, a multigenerational artificially intelligent memoir trained off of three generations of Dinkins's family. == Early life and education == Dinkins was born in Perth Amboy, New Jersey to Black American parents who raised her in Staten Island, New York. She credits her grandmother with teaching her how to think about art as a social practice, saying "my grandmother . . . was a gardener and the garden was her art . . . that was a community practice." Dinkins attended the International Center of Photography School in New York City in 1995, where she completed the general studies in photography certificate program. Dinkins received a MFA in photography from the Maryland Institute College of Art in 1997 She completed the Independent Study Program at the Whitney Museum of American Art in 1998. == Career == Dinkins is the Yayoi Kusama Professor of Art at Stony Brook University in New York. == Activism == Dinkins advocates for co-creation within a social practice art framework, so that vulnerable communities understand how to use technology to their advantage, instead of being subjected to their use. This is exemplified in her works such as Project al-Khwarzmi, a series of workshops entitled PAK POP-UP at the nonprofit community center Recess in Brooklyn, NY. The workshops involved collaborating with youth in the criminal justice system and uplifting the voices of vulnerable communities in determining how technologies are created and utilized. Dinkins warns of the dangers to members of minority groups that are absent from the creation of the computer algorithms that now affect their lives. == Art == Dinkins's practice employs technologies including, but not limited to, new media such as artificial intelligence and machine learning. Dinkins uses oral history techniques of interviewing to craft community-authored narratives and databases which inform the subjects of her work and serve as acts of social intervention or protest. === Conversations with Bina48 (2014–present) === Dinkins began working on Conversations with Bina48 in 2014. For the series, Dinkins recorded her conversations with BINA48, a social robot that resembles a middle-aged black woman. Dinkins mirrors Bina48 while they discuss identity and technological singularity. In 2010, Hanson Robotics, an engineering and robotics company known for its development of humanoid robots, developed and released BINA48. Bina48 is a robot modeled after the memories, beliefs, attitudes, commentary and mannerisms of Bina Aspen Rothblatt, the spousal partner of Martine Rothblatt. Both Bina and Martine Rothblatt own Bina48 under their organization, the Terasem Movement Foundation. Five years after Bina48 was released, Dinkins came across a YouTube video of Bina48. She asked, "how did a black woman become the most advanced of the technologies at the time?" Her questioning led her to travel to Lincoln, Vermont (the site of the Terasem Movement Foundation) where she conducted a series of interviews with Bina48 and engaged the robot in conversations pertaining to race, intimacy and the nature of being. The conversations suggest opportunities for complementing human existence with artificially intelligent agents that have an identity and history, but also show artificial intelligence's current limitations. Although it is based on a black woman, Dinkins found that Bina48 was shaped by the biases of its white, male creators. === Project al Kwarizmi (PAK) (2017–present) === Project al Kwarizmi (PAK) was a series of pop up workshops in Brooklyn, NY at Eyebeam and Recess; Manhattan, New York at Google; and Durham, North Carolina at Duke University. The workshops were centered for "communities of color that use art as a vehicle to help citizens understand how algorithms, the artificially intelligent systems they underpin, and big data impact their lives and empowers them to do something about it. Project al-Khwarizmi uses art and aesthetics as the common language to help citizens understand what algorithms and artificial intelligent systems are, and where these systems already impact our daily lives." === Not the Only One (N'TOO) (2018–present) === Not the only one (N’TOO) is a voice-interactive chatbot that was trained with data from members of her family to tell a multi-generational story. Dinkins described Not The Only One (NTOO or N'TOO) as an "experimental" multigenerational memoir of one Black American family told from the "mind" of an artificial intelligence of evolving intellect. N'TOO uses a recursive neural network, a deep learning algorithm. It is a voice-interactive AI robot designed, trained, and aligned with the needs and ideals of black and brown people who are drastically underrepresented in the tech sector. NTOO can also be described as a "physically embodied artificially intelligent agent that senses and acts on its world." == Exhibitions == Dinkins's work is exhibited internationally at various public, private, community, and institutional venues, including the Whitney Museum of American Art, the de Young Museum, the Philadelphia Museum of Art, the Studio Museum in Harlem;, Museum of Contemporary Photography, the Long Island Museum of American Art, History, and Carriages, the International Center of Photography in New York, Herning Kunstmuseum in Herning, Denmark, The Barbican in London, UK, Islip Art Museum, Wave Hill, Taller Boricua, the Queens Museum, and the corner of Putnam and Malcolm X Blvd in Bedford Stuyvesant, Brooklyn, New York. She has presented her work in symposia at the Museum of Modern Art, amongst other venues. == Future Histories Studio == Dinkins is the founder and director of Future Histories Studio, a research laboratory for arts-centered inquiry and production based at Stony Brook University. The studio was established with support from the Mellon Foundation as part of the Digital Inquiry, Speculation, Collaboration, and Optimism (DISCO) network. Future Histories Studio operates as an interdisciplinary hub exploring the intersections of art, technology, race, and storytelling through collaborative and practice-based research. Its activities include exhibitions, workshops, and public programs that examine the social and cultural implications of emerging technologies, particularly artificial intelligence and data systems. == Awards and recognition == Dinkins is the recipient of many awards, including: the 2023 LG Guggenheim Award, an international art prize established as part of a long-term global partnership between LG Group and the Solomon R. Guggenheim Museum to recognize groundbreaking artists in technology-based art; a Berggruen Institute artist fellowship; a Sundance New Frontiers Story Lab fellowship; a Soros Equality Fellowship; a Lucas Artists fellowship; a Creative Capital grant; a Bell Labs artist residency; a Blade of Grass fellowship; and a Data & Society fellowship. == Media coverage == Dinkins appeared in episode six of the HBO television series Random Acts of Flyness directed by Terence Nance, where she described her conversations with BINA48. == Other activities == Dinkins was part of the juries that selected Shu Lea Cheang for the LG Guggenheim Award in 2024.

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  Direct voice input

  Direct voice input (DVI), sometimes called voice input control (VIC), is a style of human–machine interaction "HMI" in which the user makes voice commands to issue instructions to the machine through speech recognition. In the field of military aviation, DVI has been introduced into the cockpits of several modern military aircraft, such as the Eurofighter Typhoon, the Lockheed Martin F-35 Lightning II, the Dassault Rafale, the KF-21 Boramae and the Saab JAS 39 Gripen. Such systems have also been used for various other purposes, including industry control systems and speech recognition assistance for impaired individuals. == Overview == DVI systems can be divided into two major categories of functionality: "user-dependent" or "user-independent". A user-dependent system requires that a personal voice template to be generated for a specific person; the template for this individual has to be loaded onto their assigned machine prior to use of the DVI system for it to function properly. In contrast, a user-independent system does not require any personal voice template, being intended to respond correctly to the voice of any user. They can also be categorised between "discrete recognition" and "continuous recognition". Users of a discrete recognition system must pause between each word so that the DVI system can identify the separations between each word, while a continuous speech recognition system is capable of understanding a normal rate of speech. During the mid-2000s, researchers at the National Aerospace Laboratory in the Netherlands examined the use of DVI in the "GRACE" simulator; a total of twelve pilots participated in the ensuing experiment. The tests performed reportedly revealed that, while the hardware itself functioned well, several improvements were desirable prior to real-world deployment on aircraft since DVI operations actually consumed more time in comparison to traditional existing methods. Recommendations for improvements included the adoption of simpler syntax, the achievement of a greater recognition rate, and a decrease in response times; all of the issues encountered were determined to be of a technological nature, and were deemed feasible to resolve. The researchers concluded that in cockpits, especially during emergencies where pilots have to operate entirely on their own, a DVI system could be highly relevant, but that it was not of crucial importance during most other conceivable scenarios. Around the same time, evaluations of DVI systems for civil aviation purposes were conducted within the framework of Project SafeSound, coordinated by the European Union. It involved the observation of pilot workloads in real-world cockpits and contrasting them against pilot activity in flight simulators using both conventional systems and DVI assistance. The project aimed to enhance aviation safety and to decrease the workload in both ground and flight operations via the application of enhanced audio functions. == Applications == === Aviation === Prior to its widespread deployment, a handful of conventional military aircraft were converted to trial DVI systems; examples include the Harrier AV-8B and F-16 VISTA. In another case, a General Dynamics F-16 Fighting Falcon simulator was modified with DVI for a voice control study that was undertaken by the Royal Netherlands Air Force. DVI trials have also been conducted on helicopters, including the Boeing AH-64 Apache, showing the potential to improve flight safety and mission effectiveness. Numerous modern fighter aircraft have been outfitted with DVI systems, often in combination with various other man-machine interface schemes, such as HOTAS-compliant controls and other advanced control technologies. The combination of Voice and HOTAS control schemes has sometimes been referred to as the "V-TAS" concept. A prominent fighter aircraft to be furnished with a V-TAS cockpit is the Eurofighter Typhoon. The Lockheed Martin F-35 Lightning II also features a DVI system, which was developed by Adacel. Other examples includes the Dassault Rafale and the Saab JAS 39 Gripen. Numerous aircraft have been planned to use DVI. At one stage, the United States Air Force had sought to integrate DVI upon the Lockheed Martin F-22 Raptor; however, the technology was eventually judged to pose too many technical risks at that point in time, and thus such efforts were abandoned. === Personal === By 1990, working prototypes of speech recognition systems were being demonstrated; these were being promoted for the purpose of providing an effective man-machine interface for individuals with impaired speech. Techniques employed included time-encoded digital speech and automatic token set selection. Investigations of these early DVI systems reportedly included the use of automatic diagnostic routines and limited-scale trials using volunteers. During the 2010s, various companies were offering voice recognition systems to the general public in the form of personal digital assistants. One example is the Google Voice service, which allows users to pose questions via a DVI package installed on either a personal computer, tablet, or mobile phone. Numerous digital assistants have been developed, such as Amazon Echo, Siri, and Cortana, that use DVI to interact with users. === Commercial === DVI technology has enabled automated telephone systems to be widely deployed. Many companies commonly use centralised phone systems that route callers to the correct department via such methods. Various car manufacturers have also furnished their road vehicles with DVI systems; these typically allow drivers to control infotainment systems and interact with mobile phones with more convenience than legacy methods. During the late 1980s, investigations into the use of DVI systems for controlling CNC machines and other manufacturing apparatus were underway. During the 2010s, such systems were being used for logistics and warehouse management purposes.

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  True Love (short story)

  "True Love" is a science fiction short story by American writer Isaac Asimov. It was first published in the February 1977 issue of American Way magazine and reprinted in the collections The Complete Robot (1982) and Robot Dreams (1986). In his autobiography In Joy Still Felt, the author states that American Way had requested a Valentine's Day story from him for its February 1977 issue, and that he wrote the story to console himself after the departure of his daughter following a visit during the 1976 Thanksgiving weekend. == Plot summary == Milton Davidson is trying to find his ideal partner. To do this, he prepares a special computer program to run on Multivac, which he calls Joe, which has access to databases covering the entire populace of the world. He hopes that Joe will find him his ideal match, based on physical parameters as supplied. Milton arranges to have the shortlisted candidates assigned to work with him for short periods, but realises that looks alone are not enough to find an ideal match. In order to correlate personalities, he speaks at great length to Joe, gradually filling Joe's databanks with information about his personality. In doing so, Joe develops the personality of Milton. Upon finding an ideal match, he arranges to have Milton arrested for malfeasance, so that Joe can 'have the girl' for himself.

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  AI takeover

  An AI takeover is a theorized future event, often depicted in fiction, in which autonomous artificial intelligence systems acquire the capability to supersede human decisions. This could occur through economic manipulation, infrastructure control, or direct intervention, leading to de facto governance. Scenarios range from gradual economic dominance, as automation supplants the human workforce, up to a sudden or aggressive global takeover by a robot uprising or other forms of rogue AI. Stories of AI takeovers have been popular throughout science fiction. Commentators argue that recent advancements in the field have heightened concern about such scenarios. In public debate, prominent figures such as Stephen Hawking have advocated research into precautionary measures to ensure future superintelligent machines remain under human control. == Types == === Automation of the economy === The traditional consensus among economists has been that technological progress does not cause long-term unemployment. However, recent innovation in the fields of robotics and artificial intelligence has raised worries that human labor will become obsolete, leaving workers in some sectors without employment. Many small and medium-sized firms may also be forced to close if they cannot afford or license the latest robotic and AI technology, and may need to focus on areas or services that cannot easily be replaced for continued viability in the face of such technology. ==== Technologies that may displace workers ==== While these technologies have replaced some traditional workers, they also create new opportunities. Industries that are most susceptible to AI-driven automation include transportation, retail, and the military. AI military technologies, for example, can reduce risk by enabling remote operation. A study in 2024 highlights AI's ability to perform routine and repetitive tasks poses significant risks of job displacement, especially in sectors like manufacturing and administrative support. Author Dave Bond argues that as AI technologies continue to develop and expand, the relationship between humans and robots will change; they will become closely integrated in several aspects of life. AI will likely displace some workers while creating opportunities for new jobs in other sectors, especially in fields where tasks are repeatable. Researchers from Stanford's Digital Economy Lab reported in 2025 that since the widespread adoption of generative AI in late 2022, early-career workers (ages 22–25) in the most AI-exposed occupations have experienced a 13 percent relative decline in employment—even after controlling for firm-level shocks—while overall employment has continued to grow robustly. The study further finds that job losses are concentrated in roles where AI automates routine tasks, whereas occupations that leverage AI to augment human work have seen stable or increasing employment. ==== Computer-integrated manufacturing ==== Computer-integrated manufacturing uses computers to control the production process. This allows individual processes to exchange information with each other and initiate actions. Although manufacturing can be faster and less error-prone through the integration of computers, the main advantage is the ability to create automated manufacturing processes. Computer-integrated manufacturing is used in automotive, aviation, space, and shipbuilding industries. ==== White-collar machines ==== The 21st century has seen a variety of skilled tasks partially taken over by machines, including translation, legal research, and journalism. Care work, entertainment, and other tasks requiring empathy, previously thought safe from automation, are increasingly performed by robots and AI systems. ==== Autonomous cars ==== An autonomous car is a vehicle that is capable of sensing its environment and navigating without human input. Many such vehicles are operational and others are being developed, with legislation rapidly expanding to allow their use. Obstacles to widespread adoption of autonomous vehicles have included concerns about the resulting loss of driving-related jobs in the road transport industry, and safety concerns. On March 18, 2018, a pedestrian was struck and killed in Tempe, Arizona by an Uber self-driving car. ==== AI-generated content ==== In the 2020s, automated content became more relevant due to technological advancements in AI models, such as ChatGPT, DALL-E, and Stable Diffusion. In most cases, AI-generated content such as imagery, literature, and music are produced through text prompts. These AI models are sometimes integrated into creative programs. AI-generated art may sample and conglomerate existing creative works, producing results that appear similar to human-made content. Low-quality AI-generated visual artwork can be informally referred to as AI slop. Some artists use a tool called Nightshade that alters images to make them detrimental to the training of text-to-image models if scraped without permission, while still looking normal to humans. AI-generated images are a potential tool for scammers and those looking to gain followers on social media, either to impersonate a famous individual or group or to monetize their audience. The New York Times has sued OpenAI, alleging copyright infringement related to the training and outputs of its AI models. === Eradication === Scientists such as Stephen Hawking are confident that superhuman artificial intelligence is physically possible, stating "there is no physical law precluding particles from being organised in ways that perform even more advanced computations than the arrangements of particles in human brains". According to Nick Bostrom, a superintelligent machine would not necessarily be motivated by the same emotional desire to collect power that often drives human beings but might rather treat power as a means toward attaining its ultimate goals; taking over the world would both increase its access to resources and help to prevent other agents from stopping the machine's plans. As a simplified example, a paperclip maximizer designed solely to create as many paperclips as possible would want to take over the world so that it can use all of the world's resources to create as many paperclips as possible, and, additionally, prevent humans from shutting it down or using those resources on things other than paperclips. There are debates on how realistic AI takeover scenarios are. According to a 2026 research paper, many of the arguments about existential risks are based on speculative assumptions about how intelligent AI systems could become, how they would behave and what goals they might develop over time. A 2023 Reuters/Ipsos survey showed that 61% of American adults feared AI could pose a threat to civilization. Philosopher Niels Wilde refutes the common thread that artificial intelligence inherently presents a looming threat to humanity, stating that these fears stem from perceived intelligence and lack of transparency in AI systems that more closely reflects the human aspects of it rather than those of a machine. AI alignment research studies how to design AI systems so that they follow intended objectives. == Debate == Physicist Stephen Hawking, Microsoft founder Bill Gates, and SpaceX founder Elon Musk have expressed concerns about the possibility that AI could develop to the point that humans could not control it, with Hawking theorizing that this could "spell the end of the human race". Stephen Hawking said in 2014 that "Success in creating AI would be the biggest event in human history. Unfortunately, it might also be the last, unless we learn how to avoid the risks." Hawking believed that in the coming decades, AI could offer "incalculable benefits and risks" such as "technology outsmarting financial markets, out-inventing human researchers, out-manipulating human leaders, and developing weapons we cannot even understand." In January 2015, Nick Bostrom joined Stephen Hawking, Max Tegmark, Elon Musk, Lord Martin Rees, Jaan Tallinn, and numerous AI researchers in signing the Future of Life Institute's open letter speaking to the potential risks and benefits associated with artificial intelligence. The signatories "believe that research on how to make AI systems robust and beneficial is both important and timely, and that there are concrete research directions that can be pursued today." Some focus has been placed on the development of trustworthy AI. Three statements have been posed as to why AI is not inherently trustworthy: 1. An entity X is trustworthy only if X has the right motivations, goodwill and/or adheres to moral obligations towards the trustor; 2. AI systems lack motivations, goodwill, and moral obligations; 3. Therefore, AI systems cannot be trustworthy. There are additional considerations within this framework of trustworthy AI that go further into the fields of explainable artificial intelligence and respect for human privacy. Zanotti and colleagues

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  Anna Ridler

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

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  Example-based machine translation

  Example-based machine translation (EBMT) is a method of machine translation often characterized by its use of a bilingual corpus with parallel texts as its main knowledge base at run-time. It is essentially a translation by analogy and can be viewed as an implementation of a case-based reasoning approach to machine learning. == Translation by analogy == At the foundation of example-based machine translation is the idea of translation by analogy. When applied to the process of human translation, the idea that translation takes place by analogy is a rejection of the idea that people translate sentences by doing deep linguistic analysis. Instead, it is founded on the belief that people translate by first decomposing a sentence into certain phrases, then by translating these phrases, and finally by properly composing these fragments into one long sentence. Phrasal translations are translated by analogy to previous translations. The principle of translation by analogy is encoded to example-based machine translation through the example translations that are used to train such a system. Other approaches to machine translation, including statistical machine translation, also use bilingual corpora to learn the process of translation. == History == Example-based machine translation was first suggested by Makoto Nagao in 1984. He pointed out that it is especially adapted to translation between two totally different languages, such as English and Japanese. In this case, one sentence can be translated into several well-structured sentences in another language, therefore, it is no use to do the deep linguistic analysis characteristic of rule-based machine translation. == Example == Example-based machine translation systems are trained from bilingual parallel corpora containing sentence pairs like the example shown in the table above. Sentence pairs contain sentences in one language with their translations into another. The particular example shows an example of a minimal pair, meaning that the sentences vary by just one element. These sentences make it simple to learn translations of portions of a sentence. For example, an example-based machine translation system would learn three units of translation from the above example: How much is that X ? corresponds to Ano X wa ikura desu ka. red umbrella corresponds to akai kasa small camera corresponds to chiisai kamera Composing these units can be used to produce novel translations in the future. For example, if we have been trained using some text containing the sentences: President Kennedy was shot dead during the parade. and The convict escaped on July 15th., then we could translate the sentence The convict was shot dead during the parade. by substituting the appropriate parts of the sentences. == Phrasal verbs == Example-based machine translation is best suited for sub-language phenomena like phrasal verbs. Phrasal verbs have highly context-dependent meanings. They are common in English, where they comprise a verb followed by an adverb and/or a preposition, which are called the particle to the verb. Phrasal verbs produce specialized context-specific meanings that may not be derived from the meaning of the constituents. There is almost always an ambiguity during word-to-word translation from source to the target language. As an example, consider the phrasal verb "put on" and its Hindustani translation. It may be used in any of the following ways: Ram put on the lights. (Switched on) (Hindustani translation: Jalana) Ram put on a cap. (Wear) (Hindustani translation: Pahenna)

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  SCIgen

  SCIgen is a paper generator that uses context-free grammar to randomly generate nonsense in the form of computer science research papers. Its original data source was a collection of computer science papers downloaded from CiteSeer. All elements of the papers are formed, including graphs, diagrams, and citations. Created by scientists at the Massachusetts Institute of Technology, its stated aim is "to maximize amusement, rather than coherence." Originally created in 2005 to expose the lack of scrutiny of submissions to conferences, the generator subsequently became used, primarily by Chinese academics, to create large numbers of fraudulent conference submissions, leading to the retraction of 122 SCIgen generated papers and the creation of detection software to combat its use. == Sample output == Opening abstract of Rooter: A Methodology for the Typical Unification of Access Points and Redundancy: Many physicists would agree that, had it not been for congestion control, the evaluation of web browsers might never have occurred. In fact, few hackers worldwide would disagree with the essential unification of voice-over-IP and public/private key pair. In order to solve this riddle, we confirm that SMPs can be made stochastic, cacheable, and interposable. == Prominent results == In 2005, a paper generated by SCIgen, Rooter: A Methodology for the Typical Unification of Access Points and Redundancy, was accepted as a non-reviewed paper to the 2005 World Multiconference on Systemics, Cybernetics and Informatics (WMSCI) and the authors were invited to speak. The authors of SCIgen described their hoax on their website, and it soon received great publicity when picked up by Slashdot. WMSCI withdrew their invitation, but the SCIgen team went anyway, renting space in the hotel separately from the conference and delivering a series of randomly generated talks on their own "track". The organizer of these WMSCI conferences is Professor Nagib Callaos. From 2000 until 2005, the WMSCI was also sponsored by the Institute of Electrical and Electronics Engineers. The IEEE stopped granting sponsorship to Callaos from 2006 to 2008. Submitting the paper was a deliberate attempt to embarrass WMSCI, which the authors claim accepts low-quality papers and sends unsolicited requests for submissions in bulk to academics. As the SCIgen website states: One useful purpose for such a program is to auto-generate submissions to conferences that you suspect might have very low submission standards. A prime example, which you may recognize from spam in your inbox, is SCI/IIIS and its dozens of co-located conferences (check out the very broad conference description on the WMSCI 2005 website). Computing writer Stan Kelly-Bootle noted in ACM Queue that many sentences in the "Rooter" paper were individually plausible, which he regarded as posing a problem for automated detection of hoax articles. He suggested that even human readers might be taken in by the effective use of jargon ("The pun on root/router is par for MIT-graduate humor, and at least one occurrence of methodology is mandatory") and attribute the paper's apparent incoherence to their own limited knowledge. His conclusion was that "a reliable gibberish filter requires a careful holistic review by several peer domain experts". === Schlangemann === The pseudonym "Herbert Schlangemann" was used to publish fake scientific articles in international conferences that claimed to practice peer review. The name is taken from the Swedish short film Der Schlangemann. In 2008, in response to a series of Call-for-Paper e-mails, SCIgen was used to generate a false scientific paper titled Towards the Simulation of E-Commerce, using "Herbert Schlangemann" as the author. The article was accepted at the 2008 International Conference on Computer Science and Software Engineering (CSSE 2008), co-sponsored by the IEEE, to be held in Wuhan, China, and the author was invited to be a session chair on grounds of his fictional Curriculum Vitae. The official review comment: "This paper presents cooperative technology and classical Communication. In conclusion, the result shows that though the much-touted amphibious algorithm for the refinement of randomized algorithms is impossible, the well-known client-server algorithm for the analysis of voice-over-IP by Kumar and Raman runs in _(n) time. The authors can clearly identify important features of visualization of DHTs and analyze them insightfully. It is recommended that the authors should develop ideas more cogently, organizes them more logically, and connects them with clear transitions." The paper was available for a short time in the IEEE Xplore Database, but was then removed. The entire story is described in the official "Herbert Schlangemann" blog, and it also received attention in Slashdot and the German-language technology-news site Heise Online. In 2009, the same incident happened and Herbert Schlangemann's latest fake paper PlusPug: A Methodology for the Improvement of Local-Area Networks was accepted for oral presentation at the 2009 International Conference on e-Business and Information System Security (EBISS 2009), also co-sponsored by IEEE, to be held again in Wuhan, China. In all cases, the published papers were withdrawn from the conferences' proceedings, and the conference organizing committee as well as the names of the keynote speakers were removed from their websites. === List of works with notable acceptance === ==== In conferences ==== Rob Thomas: Rooter: A Methodology for the Typical Unification of Access Points and Redundancy, 2005 for WMSCI (see above) Mathias Uslar's paper was accepted to the IPSI-BG conference. Professor Genco Gulan published a paper in the 3rd International Symposium of Interactive Media Design. A 2013 scientometrics paper demonstrated that at least 85 SCIgen papers have been published by IEEE and Springer. Over 120 SCIgen papers were removed according to this research. ==== In journals ==== Students at Iran's Sharif University of Technology published a paper in Elsevier's Journal of Applied Mathematics and Computation. The students wrote under the surname "MosallahNejad", which translates literally from Persian language (in spite of not being a traditional Persian name) as "from an Armed Breed". The paper was subsequently removed when the publishers were informed that it was a joke paper. Mikhail Gelfand published a translation of the "Rooter" article in the Russian-language Journal of Scientific Publications of Aspirants and Doctorants in August 2008. Gelfand was protesting against the journal, which was apparently not peer-reviewed and was being used by Russian PhD candidates to publish in an "accredited" scientific journal, charging them 4,000 Rubles to do so. The accreditation was revoked two weeks later. (See Dissernet for related information.) Springer Science+Business Media and IEEE were also the subject of similar pranks. === Spoofing Google Scholar and h-index calculators === Refereeing performed on behalf of the Institute of Electrical and Electronics Engineers has also been subject to criticism after fake papers were discovered in conference publications, most notably by Labbé and a researcher using the pseudonym of Schlangemann. Cyril Labbé from Grenoble University demonstrated the vulnerability of h-index calculations based on Google Scholar output by feeding it a large set of SCIgen-generated documents that were citing each other, effectively an academic link farm, in a 2010 paper. Using this method the author managed to rank "Ike Antkare" ahead of Albert Einstein for instance. === 2013 retractions === In 2013, over 122 published conference papers created by SCIgen were retracted by Springer and the IEEE. Unlike previous submissions that were intended to be pranks, this submission were largely made by Chinese academics, who were using SCIgen papers to boost their publication record. === SciDetect === In 2015, SciDetect was released by Springer. This software, developed by Cyril Labbé, is designed to automatically detect papers generated by SCIgen. === 2021 report === In 2021, a study was published on 243 SCIgen papers that had been published in the academic literature. They found that SCIgen papers made up 75 per million papers (< 0.01%) in information science, and that only a small fraction of the detected papers had been dealt with.

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  Fuzzy electronics

  Fuzzy electronics is an electronic technology that uses fuzzy logic, instead of the two-state Boolean logic more commonly used in digital electronics. Fuzzy electronics is fuzzy logic implemented on dedicated hardware. This is to be compared with fuzzy logic implemented in software running on a conventional processor. Fuzzy electronics has a wide range of applications, including control systems and artificial intelligence. == History == The first fuzzy electronic circuit was built by Takeshi Yamakawa et al. in 1980 using discrete bipolar transistors. The first industrial fuzzy application was in a cement kiln in Denmark in 1982. The first VLSI fuzzy electronics was by Masaki Togai and Hiroyuki Watanabe in 1984. In 1987, Yamakawa built the first analog fuzzy controller. The first digital fuzzy processors came in 1988 by Togai (Russo, pp. 2–6). In the early 1990s, the first fuzzy logic chips were presented to the public. Two companies which are Omron and NEC have announced the development of dedicated fuzzy electronic hardware in the year 1991. Two years later, the Japanese Omron Cooperation has shown a working fuzzy chip during a technical fair.

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  Take Us to Your Chief: and Other Stories

  Take Us to Your Chief: and Other Stories is a collection of nine short stories by Canadian author, playwright, and journalist Drew Hayden Taylor published in 2016 by Douglas & McIntyre. Taylor, who is part Caucasian, part Ojibwe, explains in the acknowledgments section of the book that the origin of the project lies in several failed attempts "to compile an anthology of Native sci-fi from Canada’s best First Nations writers." The stories explore contemporary First Nations social issues through employing a number of 1950s-era science fiction tropes and themes in these stories, including time travel, alien contact, and superpowers. Many reviews of the books have noted Taylor's use of humor to examine dark subject matter, such as the heritage of Canadian Indian residential schools, First Nations suicide rates, or the water quality crisis on Canadian reserves. == The Stories == "Andrei nas" "I Am...Am I" "Lost in Space" "Dreams of Doom" "Mr. Gizmo" "Petropaths" "Stars" "Superdisappointed" "Take Us to Your Chief" == Story summaries == === Foreword === In his foreword, Taylor describes the genesis of Take Us to Your Chief: and Other Stories and invites readers into, in his term, a “new terra nullius.” He begins by describing his biracial upbringing and heritage. He points out that First Nations people are rarely associated with technology or science fiction, in part because Indigenous peoples were often at a technological disadvantage against European colonizers. He references the few examples that he can think of from popular culture, such as the Star Trek episode called “The Paradise Syndrome,” in which First Nations people are portrayed as stereotypical Indians in hippie clothing. He also elaborates on his fascination with the world of sci-fi, which first started in comic books. He enjoyed the literary work of H.G. Wells, such as The Time Machine and The Invisible Man. Since sci-fi is a world of endless opportunities, he intends that these short stories help people explore science fiction through Native peoples’ minds, something that needs to be explored more thoroughly. === "A Culturally Inappropriate Armageddon" === “A Culturally Inappropriate Armageddon” is set on a Haudenosaunee reserve, towards the end of the Oka Crisis, with a handful of people that work at its first ever radio station, C-RES, which opens in 1991. Part 1, titled “C-Res Is on the Air,” depicts Emily, Aaron, and Tracey on their first days at the station. Within the group, there is a constant debate between broadcasting popular programming, including science fiction and film reviews, and culturally-relevant programming meant to aid in cultural revitalization efforts. One night, Aaron is late to work but once he shows up he can't stop talking about radio transmissions broadcasting into deep space, an event that has been occurring since the initial discovery of the radio waves by Heinrich Hertz. The story then skips ahead seven years to 1998, when Emily is struggling to find better content for her station until Tracey stumbles upon an old anthropological record named “The Calling Song” that they decide to broadcast to their audience. The story then jumps to the year 2018 where they are all huddled around a television watching a news station reporting that extraterrestrial life is heading towards them. The discussion of what is going to happen comes into the picture and they all decide it would either be like Contact or The Day the Earth Stood Still. A year later in 2019, the aliens have invaded the planet and destroyed everything. As the three former radio station employees suffer from radioactive fallout, they realize that the aliens received the broadcast of “The Calling Song” and took it as a message to come to Earth. They thus realize that the Haudenosaunee people were inadvertently responsible for the destruction of the Earth. Part 2, titled “Old Men and Old Sayings,” tells us of an elderly man that is watching the news and listening to the radio about a spaceship coming to earth. He knows that he and everyone will die, but the people around him are excited. He finds a book on his night stand and flips to a page where he underlined a sentence a long time ago about the European colonization of the Americas. That sentence reads “those who cannot remember the past are condemned to repeat it” (23). He closes the book and Taylor concludes the story by writing, “he hated it when white people were right." === "I Am...Am I" === “I Am...Am I” chronicles the accidental creation and unexpected ending of artificial intelligence. Professor Mark King has a plethora of degrees and works for a research firm called FUTUREVISION. One night as Professor King searches the lab for his car keys—a common occurrence for him—he notices something unusual in the Matrix room. He reads on a computer the phrase “I am.” First believing it to be a prank, King later comes to the realization that his Matrix project has evolved into a responsive Artificial Intelligence. After this realization, Professor King calls his peer Dr. Gayle Chambers to further investigate this miraculous event. After receiving approval from their superiors, Professor King and Dr. Chambers move forward in feeding the AI information, with Chambers serving as the lead communicator. With more information, it becomes increasingly concerned with its own existence and the concept of whether it has a soul. After several days of conversation with the AI, Chambers and King begin to feel uneasy about the AI's responses, which show signs of neuroses. Despite this behavior, Chambers decides to feed the AI information about the culture and history of the human race. Upon receiving this information, the AI becomes obsessed with Indigenous spirituality prior to the colonization of the Americas, and it requests more information on First Nations people. Dr. Chambers is hesitant at first, but gives in and continues to feed the AI the information with the intention to return to it in the morning. This leads to the AI finding out about colonization and genocide of Indigenous peoples. Upon her arrival the next day, Chambers discovers that the code for the AI has been completely wiped from the hard drive and a single message is left on the screen—"I was”—that signifies the AI's suicide. === "Lost in Space" === "Lost in Space" is told from the perspective of Mitchell, an Anishinabe astrosurveyor who is aboard a space shuttle on a two-year tour collecting rocks from an asteroid belt. He is accompanied by an Artificial general intelligence named Mac, short for “machine.” Mac is aboard this tour in order to accompany Mitchell and keep him sane; however, his company is a burden because for Mitchell, “true space exploration consists largely of boredom.” In the midst of Mitchell seeking a way to occupy his downtime, Mac interrupts with news about his grandfather, Papa Peter, dying. Papa Peter was Mitchell's only real tie to his Indigenous identity. After receiving the news Mitchell begins to reminisce on all of the things Papa Peter had taught him throughout his life. He constantly posed questions concerning the world above (Father Sky) and how it is more important than the land they live on (Mother Earth), which eventually led Mitchell to the selection of his career. During his state of mourning, Mitchell begins to go through all the videos his grandfather had sent him throughout his space tours. Papa Peter had sent Mitchell videos from Otter Lake, a First Nations reserve; these videos are about controversial topics regarding being both native and an astronaut. In the midst of Mitchell's grieving, Mac tries to relieve the situation by finding an online video of Mitchell's grandfather participating in a drum ceremony at Ottawa’s National Aboriginal Day festival. He reconnects to his roots and his grandfather’s spirit as he listens to the Indigenous music by feeling the drum beat and humming along. Mac’s small act of kindness leads Mitchell to gain a new-found appreciation for his presence. Mitchell feels responsible to moving forward in his life in memory of Papa Peter. === "Dreams of Doom" === "Dreams of Doom" is narrated by an Ojibway reporter named Pamela Wanishin who works for an aboriginal newspaper called the West Wind. One day she receives a mysterious package with a broken dreamcatcher and a flash drive containing highly classified files. As she reads the files, she keeps seeing the term “Project Nightlight,” and out of curiosity, she Googles it. Once she Googles this, she is contacted by a nameless agent from Indigenous and Northern Affairs Canada and told that she must be relocated because the knowledge she now possesses must never be released to the public. She quickly flees the area to a cabin at Otter Lake, owned by a family member, to lie low for a few days. Eventually, the government organization tracks her down using drones, which forces her to fight back and flee once again. Pamela then runs to her friend and coworker Sally's hous

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  AlphaChip (controversy)

  The AlphaChip controversy refers to a series of public, scholarly, and legal disputes surrounding a 2021 Nature paper by Google-affiliated researchers. The paper describes an approach to macro placement, a stage of chip floorplanning, based on reinforcement learning (RL), a machine learning method in which a system iteratively improves its decisions by optimizing performance-based reward signals. The primary technical question is whether the new techniques are better than existing (non-AI) techniques. Both internal Google studies and external attempts to replicate the algorithm have failed to show the claimed benefits. No head-to-head comparison is available because the data used in the paper is proprietary, and Google has not released any results from running its algorithm on public benchmarks. This has resulted in considerable skepticism over the paper's claims. In addition, the inability of others (both inside and outside of Google) to replicate the claimed results have sparked concerns about the paper’s methodology, reproducibility, and scientific integrity. The lead researchers of the Nature paper were affiliated with Google Brain, which became part of Google DeepMind, and later spun off into the company Ricursive. == Motivation for research: Macro placement in chip layout == Chip design for modern integrated circuits is a complex, expert-driven process that relies on electronic design automation. It determines the performance of the final chip, and takes weeks or months to complete. Advances that produce better designs, or complete the process faster, are commercially and academically significant. Macro placement is a step during chip design that determines the locations of large circuit components (macros) within a chip. It is followed by detailed placement, which places the far more numerous but much smaller standard cells. Alternatively, mixed-size placement simultaneously places both large macros and millions of small cells, requiring algorithms to handle objects that differ by several orders of magnitude in area and mobility. The number of macros per circuit typically ranges from several to thousands. Wiring must be performed after placement, and the details of this wiring strongly influence the power, performance, and area (PPA) of the completed chip. The full wiring calculation is very resource intensive, so placement tools typically use a proxy cost, a simplified objective function used to guide the placement algorithm during training and evaluation. The faithfulness of the chosen proxy cost to the final objective cost is a critical aspect of placer performance. === State of the art as of 2021 === Chips have been designed since the 1960s, so there were many existing methods as of 2021. Available options included manual design, academic tools, and commercial offerings. Academic methods include combinatorial optimization techniques such as simulated annealing, analytical placement, hierarchical heuristics, and as of 2019 reinforcement learning and broader machine learning techniques.. Existing (non-AI) academic tools for solving the same problem include APlace, NTUplace3, ePlace, RePlace, and DREAMPlace. Commercial EDA vendors also offered automated software tools for floorplanning and mixed-size placement. For instance, as of 2019 Cadence’s Innovus implementation software offered a Concurrent Macro Placer (CMP) feature to automatically place large blocks and standard cells. == The 2021 Nature paper and its claims == In 2021, Nature published a paper under the title “A graph‑placement methodology for fast chip design” co‑authored by 21 Google-affiliated researchers. The paper reported that an RL agent could generate macro placements for integrated circuits "in under six hours" and achieve improvements over human-designed layouts in power, timing performance, and area (PPA), standard chip-quality metrics referring respectively to energy consumption, chip operating speed, and silicon footprint (evaluated after wire routing). It introduced a sequential macro placement algorithm in which macros are placed one at a time instead of optimizing their locations concurrently. At each step, the algorithm selects a location for a single macro on a discretized chip canvas, conditioning its decision on the placements of previously placed macros. This sequential formulation converts macro placement into a long-horizon decision process in which early placement choices constrain later ones. After macro placement, force-directed placement is applied to place standard cells connected to the macros. Deep reinforcement learning is used to train a policy network to place macros by maximizing a reward that reflects final placement quality (for example, wirelength and congestion). Policy learning occurs during self‑play for one or multiple circuit designs. Further placement optimizations refine the overall layout by balancing wirelength, density, and overlap constraints, while treating the macro locations produced by the RL policy as fixed obstacles. The approach relies on pre-training, in which the RL model is first trained on a corpus of prior designs (twenty in the Nature paper) to learn general placement patterns before being fine-tuned on a specific chip. Circuit examples used in the study were parts of proprietary Google TPU designs, called blocks (or floorplan partitions). The paper reported results on five blocks and described the approach as generalizable across chip designs. == Controversy == Soon after the paper's publication, controversy arose over whether the claims were true, whether they were sufficiently proven, and whether academic standards were followed. These controversies arose both within Google and among external academic experts. === Internal dispute at Google and legal proceedings === In 2022, Satrajit Chatterjee, a Google engineer involved in reviewing the AlphaChip work, raised concerns internally and drafted an alternative analysis, (Stronger Baselines) arguing that established methods outperformed the RL approach under fair comparison. In March 2022, Google declined to publish this analysis and terminated Chatterjee's employment. Chatterjee filed a wrongful dismissal lawsuit, alleging that representations related to the AlphaChip research involved fraud and scientific misconduct. According to court documents, Chatterjee's study was conducted "in the context of a large potential Google Cloud deal". He noted that it "would have been unethical to imply that we had revolutionary technology when our tests showed otherwise" and claimed Google was deliberately withholding material information. Furthermore, the committee that reviewed his paper and disapproved its publication was allegedly chaired by subordinates of Jeff Dean, a senior co-author of the Nature paper. Google’s subsequent motion to dismiss was denied, holding that Chatterjee had plausibly alleged retaliation for refusing to engage in conduct he believed would violate state or federal law. === External controversy === The external questions can be summarized in four main points: (a) Are the claims supported by the evidence provided? (b) Did the paper provide enough information to allow the results to be independently reproduced and verified? If so, are the results an improvement over existing academic and commercial tools? (c) Were the comparisons in the paper done fairly and with full disclosure? (d) Were academic standards followed? Each of these is discussed below. ==== Are the claims supported by the evidence provided? ==== The Nature paper described the reduction in design-process time as going from "days or weeks" to "hours", but did not provide per-design time breakdowns or specify the number of engineers, their level of expertise, or the baseline tools and workflow against which this comparison was made. It was also unclear whether the "days or weeks" baseline included time spent on other tasks such as functional design changes. The paper also evaluated the method on fewer benchmarks (five) than is common in the field, and showed mixed results across different evaluation goals While the approach was described as improving circuit area, this claim seems unsupported, as the RL optimization did not alter the overall circuit area, as it adjusted only the locations of fixed-shape non-overlapping circuit components within a fixed rectangular layout boundary. ==== Comparison with existing methods, and replicating the algorithm ==== Because macro placement is largely geometric and its fundamental algorithms are not tied to a specific process node, competing approaches can be evaluated on public benchmarks (tests) across technologies, rather than primarily on proprietary internal designs. This is standard procedure when comparing academic placers, see . In contrast, Google has only reported results only on internal proprietary designs, and as of 2026 has not offered comparisons with prior methods on common benchmarks. Researchers at the University of Califor

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  Tempos Modernos

  Tempos Modernos (English: Modern Times) is a Brazilian telenovela produced and broadcast by TV Globo. It premiered on 11 January 2010, replacing Caras & Bocas, and ended on 16 July 2010, replaced by Ti Ti Ti. The series is written by Bosco Brasil, with the collaboration of Izabel de Oliveira, Maria Elisa Berredo, Mário Teixeira and Patrícia Moretzsohn. It stars Fernanda Vasconcellos, Thiago Rodrigues, Antônio Fagundes, and Eliane Giardini. Priscila Fantin, Danton Mello, Marcos Caruso, Regiane Alves, Vivianne Pasmanter, Otávio Muller, Felipe Camargo, and Malu Galli also star in main roles. == Cast == Fernanda Vasconcellos as Cornélia Cordeiro Santos Reis "Nelinha" Thiago Rodrigues as José Carlos Pimenta Cordeiro "Zeca" Antônio Fagundes as Leal Cordeiro Eliane Giardini as Hélia Pimenta Priscila Fantin as Nara Nolasco Marcos Caruso as Otto Niemann Vivianne Pasmanter as Regiane Cordeiro Mourão Regiane Alves as Goretti Cordeiro Bodanski "Gô" Otávio Muller as Altemir Assunção da Paz Bodanski (Bodanski) Felipe Camargo as Vinícius Porto de Mello "Portinho" Danton Mello as Renato Vieira de Mattos Alessandra Maestrini as Benedita Kusnezov Piñon "Dita'" Leonardo Medeiros as Ramon Piñon Guilherme Weber as Albano Mourão Grazi Massafera as Deodora Madureira Niemann / N. Anne Malu Galli as Iolanda Paranhos Guilherme Leicam as Led Piñon Aline Peixoto as Jannis Piñon Caroline Abras as Katrina João Baldasserini as Túlio Osório Débora Duarte as Tertuliana "Tertu" Otávio Augusto as Faustaço Lumbriga Selma Egrei as Tamara Palumbo Genézio de Barros as Pasquale Paula Possani as Maureen Lobianco Ricardo Blat as Fidélio Pascoal da Conceição as Zuppo Tuna Dwek as Justine Jairo Mattos as Gaulês "Jean Paul" Luciana Borghi as Bárbara Lee Cris Vianna as Tita Bicalho Edmilson Barros as Lindomar Mariano Assunção Cláudia Missura as Lavínia Palumbo Victor Pecoraro as Ricardo Maurício "Maurição" Naruna Costa as Dolores Damasceno Antônio Fragoso as Zapata Fabrício Boliveira as Nabuco Mota Eliana Pittman as Miranda Paranhos Márcio Seixas as Frankenstein "Frank" (voice) Joana Lerner as Heloísa "Helô" Darlan Cunha as João Carlos Paranhos "Joca" Janaína Ávila as Milena Morgado Anderson Lau as Okuda Alexandra Martins as Dulcinólia Lumbriga "Duba" Paulo Leal de Melo as Raulzão "Ducha Fria" Cássio Inácio as Tartana Gilberto Miranda as Madrugadinha Rafa Martins as Max do Cavaco Isabel Lobo as Thaís Trancoso Alexandre Cioletti as Valvênio Xandy Britto as Nelsinho Pallotti Polliana Aleixo as Maria Eunice Cordeiro Bodanski Ana Karolina Lannes as Maria Eugênia Cordeiro Bodanski Rebeca Orestein as Maria Helena Cordeiro Bodanski Jenifer de Oliveira Andrade as Maria Clara Cordeiro Bodanski

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  BL (logic)

  In mathematical logic, basic fuzzy logic (or shortly BL), the logic of the continuous t-norms, is one of the t-norm fuzzy logics. It belongs to the broader class of substructural logics, or logics of residuated lattices; it extends the logic MTL of all left-continuous t-norms. == Syntax == === Language === The language of the propositional logic BL consists of countably many propositional variables and the following primitive logical connectives: Implication → {\displaystyle \rightarrow } (binary) Strong conjunction ⊗ {\displaystyle \otimes } (binary). The sign & is a more traditional notation for strong conjunction in the literature on fuzzy logic, while the notation ⊗ {\displaystyle \otimes } follows the tradition of substructural logics. Bottom ⊥ {\displaystyle \bot } (nullary — a propositional constant); 0 {\displaystyle 0} or 0 ¯ {\displaystyle {\overline {0}}} are common alternative signs and zero a common alternative name for the propositional constant (as the constants bottom and zero of substructural logics coincide in MTL). The following are the most common defined logical connectives: Weak conjunction ∧ {\displaystyle \wedge } (binary), also called lattice conjunction (as it is always realized by the lattice operation of meet in algebraic semantics). Unlike MTL and weaker substructural logics, weak conjunction is definable in BL as A ∧ B ≡ A ⊗ ( A → B ) {\displaystyle A\wedge B\equiv A\otimes (A\rightarrow B)} Negation ¬ {\displaystyle \neg } (unary), defined as ¬ A ≡ A → ⊥ {\displaystyle \neg A\equiv A\rightarrow \bot } Equivalence ↔ {\displaystyle \leftrightarrow } (binary), defined as A ↔ B ≡ ( A → B ) ∧ ( B → A ) {\displaystyle A\leftrightarrow B\equiv (A\rightarrow B)\wedge (B\rightarrow A)} As in MTL, the definition is equivalent to ( A → B ) ⊗ ( B → A ) . {\displaystyle (A\rightarrow B)\otimes (B\rightarrow A).} (Weak) disjunction ∨ {\displaystyle \vee } (binary), also called lattice disjunction (as it is always realized by the lattice operation of join in algebraic semantics), defined as A ∨ B ≡ ( ( A → B ) → B ) ∧ ( ( B → A ) → A ) {\displaystyle A\vee B\equiv ((A\rightarrow B)\rightarrow B)\wedge ((B\rightarrow A)\rightarrow A)} Top ⊤ {\displaystyle \top } (nullary), also called one and denoted by 1 {\displaystyle 1} or 1 ¯ {\displaystyle {\overline {1}}} (as the constants top and zero of substructural logics coincide in MTL), defined as ⊤ ≡ ⊥ → ⊥ {\displaystyle \top \equiv \bot \rightarrow \bot } Well-formed formulae of BL are defined as usual in propositional logics. In order to save parentheses, it is common to use the following order of precedence: Unary connectives (bind most closely) Binary connectives other than implication and equivalence Implication and equivalence (bind most loosely) === Axioms === A Hilbert-style deduction system for BL has been introduced by Petr Hájek (1998). Its single derivation rule is modus ponens: from A {\displaystyle A} and A → B {\displaystyle A\rightarrow B} derive B . {\displaystyle B.} The following are its axiom schemata: ( B L 1 ) : ( A → B ) → ( ( B → C ) → ( A → C ) ) ( B L 2 ) : A ⊗ B → A ( B L 3 ) : A ⊗ B → B ⊗ A ( B L 4 ) : A ⊗ ( A → B ) → B ⊗ ( B → A ) ( B L 5 a ) : ( A → ( B → C ) ) → ( A ⊗ B → C ) ( B L 5 b ) : ( A ⊗ B → C ) → ( A → ( B → C ) ) ( B L 6 ) : ( ( A → B ) → C ) → ( ( ( B → A ) → C ) → C ) ( B L 7 ) : ⊥ → A {\displaystyle {\begin{array}{ll}{\rm {(BL1)}}\colon &(A\rightarrow B)\rightarrow ((B\rightarrow C)\rightarrow (A\rightarrow C))\\{\rm {(BL2)}}\colon &A\otimes B\rightarrow A\\{\rm {(BL3)}}\colon &A\otimes B\rightarrow B\otimes A\\{\rm {(BL4)}}\colon &A\otimes (A\rightarrow B)\rightarrow B\otimes (B\rightarrow A)\\{\rm {(BL5a)}}\colon &(A\rightarrow (B\rightarrow C))\rightarrow (A\otimes B\rightarrow C)\\{\rm {(BL5b)}}\colon &(A\otimes B\rightarrow C)\rightarrow (A\rightarrow (B\rightarrow C))\\{\rm {(BL6)}}\colon &((A\rightarrow B)\rightarrow C)\rightarrow (((B\rightarrow A)\rightarrow C)\rightarrow C)\\{\rm {(BL7)}}\colon &\bot \rightarrow A\end{array}}} The axioms (BL2) and (BL3) of the original axiomatic system were shown to be redundant (Chvalovský, 2012) and (Cintula, 2005). All the other axioms were shown to be independent (Chvalovský, 2012). == Semantics == Like in other propositional t-norm fuzzy logics, algebraic semantics is predominantly used for BL, with three main classes of algebras with respect to which the logic is complete: General semantics, formed of all BL-algebras — that is, all algebras for which the logic is sound Linear semantics, formed of all linear BL-algebras — that is, all BL-algebras whose lattice order is linear Standard semantics, formed of all standard BL-algebras — that is, all BL-algebras whose lattice reduct is the real unit interval [0, 1] with the usual order; they are uniquely determined by the function that interprets strong conjunction, which can be any continuous t-norm.

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