AI Content Blocker Extension

AI Content Blocker Extension — independent reviews, comparisons, pricing and step-by-step guides on Aizhi.

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  24SevenOffice

  24SevenOffice is a Norwegian software company headquartered in Oslo, Norway, with offices in Stockholm, Sweden and London, United Kingdom. Founded in 1997, the company specializes in web-based (SaaS) ERP and CRM systems. == Company history == 24SevenOffice was founded in 1997 in Porsgrunn, Norway, as IKT Interactive AS and marketed as kontorplassen.no. The name "24SevenOffice" was introduced for the company's London branch when the company entered the British market in 2003. The company changed its name to 24SevenOffice in February 2005. Originally based in Skien, the company later moved to Oslo Innovation Center, then to Tjuvholmen in the waterfront Fjord City of Oslo, and now the headquarters are located in Inkognitogaten 33, Solli plass, Oslo. The idea for the company's product was developed in 1996, and 24SevenOffice was an early innovator in the Scandinavian market in web-based enterprise resource planning solutions (ERP). A British office was established at Surrey Business Park in May 2003, with the company launching its web-based (SaaS) utility computing system to the UK SME market in 2004. An office in Chennai, India, was established in 2005, and 24SevenOffice entered the Swedish market when they acquired the leading competitor and ERP-provider Start & Run in a cash deal. In August 2005, the company had an initial public offering that raised NOK 15 million, and the company entered The Norwegian Over the Counter Market list as of 5 October 2005 (the ticker was 24SO), reaching a market value of NOK 175 million, with 5000 customers in Norway. In 2006, the company signed a deal to sponsor rally driver Petter Solberg, at the time the largest private sponsorship in Norwegian sport. Instead of receiving NOK 5 million in cash, Solberg received a 2.9 per cent ownership in the company. The company entered the German-speaking market in April 2006 when an office in Frankfurt am Main was opened. In late August/early September, they established an office with ten sales agents plus a general manager in Stockholm for the Swedish market. 24SevenOffice initiated strategic cooperation with Active 24 in early 2006 to develop a common platform. During the summer, Active 24 was bought by 24SevenOffice's ERP/CRM competitor Mamut (company), and 24SevenOffice terminated the contract with Active 24 in October demanding NOK 200 million in compensation for lost revenue. After a breakdown of settlement negotiations in the Forliksråd in January 2007, 24SevenOffice filed a case against Active 24 for breach of agreement in the Oslo District Court in March. 24SevenOffice lost on all counts in the District Court in December 2007. In January 2008, 24SevenOffice appealed the case to the Borgarting Court of Appeal, reducing the cause of action from NOK 250 to 30 million. 24SevenOffice lost on all counts in the Court of Appeal in December 2008, and was ordered to cover the costs incurred by Active 24 in connection with the dispute totaling NOK 6.91 million. 24SevenOffice appealed the case to the Supreme Court of Norway, but the Supreme Court Appeals Committee in March 2008 unanimously rejected the appeal from 24SevenOffice over the Borgarting Appeal Court's unanimous judgment of December 2008. On a counterclaim from Active 24 and Mamut against 24SevenOffice, the Oslo District Court in May 2010 found, that 24SevenOffice should pay Active 24 NOK 12 million in compensation for wrongfully having terminated the agreement, and a further NOK 360.000 of the opponent's legal costs. 24SevenOffice disagreed with the court ruling, and appealed once again. The Borgarting Court of Appeal in November 2011, ruled to reduce the amount of damages to NOK 4.4 million plus NOK 900.000 in penal interest. With several scrip issues, 24SevenOffice raised 25 million NOK (about $4 million at the time) between October 2005 and July 2006. They entered into a strategic partnership with Bluegarden, who for 30 years had delivered digital services for payroll, human resource planning, recruitment and training, in March 2006, and they made a large-scale agreement in April 2006, with US telecommunications software company Webex, a competitor to Norwegian Tandberg videoconferencing equipment manufacturer. In September 2006, 24SevenOffice signed an agreement with Fokus Bank to provide their customers with extended functionality in Internet banking. 24SevenOffice had by 2007 reportedly 9000 customers, joined the OpenAjax Alliance, and entered into a strategic partnership with Dun & Bradstreet in May 2007, but despite getting listed on Oslo Axess on 22 June (ticker: TFSO), reaching a market capitalization of NOK 120 million, the company was still losing money. The company ended 2007 with a revenue of NOK 21.7 million. In 2008, 24SevenOffice bought 50% of the stocks in telecommunication company Oyatel, partnered with Nets Group to facilitate invoicing for businesses, and telecommunications company Telipol chose 24SevenOffice's second-generation Internet platform for its 8,000 users. They announced an increase in revenues in Q2 to 11.1 million, up from 4.7 million in the same period the year before. 24SevenOffice had a turnover of NOK 37 million in the first half of 2009, a doubling compared to the same period the previous year, and presented its first positive EBITDA in Q2. The Norwegian Association of Auditors signed an agreement with 24SevenOffice in 2011, whereby they only recommend 24SevenOffice as a system for their members to use. On 27 June 2013, the shareholders of 24SevenOffice took off from the stock exchange and privatized the company. In recent years, the company has invested heavily in finance and accounting – and got leading auditing companies such as PwC and KPMG on the customer list. == Products == 24SevenOffice is a web-based (SaaS) ERP system. It includes modules for CRM, accounting, invoicing, e-mail, file/document management and project management. == Awards == 24SevenOffice won the Seal of Excellence in Multimedia Award at the 2004 CeBIT, became Norwegian Gazelle Company of the year 2004, chosen by Dagens Næringsliv and Dun & Bradstreet, won Product of the Year in the Norwegian finance magazine Kapital, and the IKT Grenland Innovation Award in 2008.

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  Theaitre

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

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  Evolving intelligent system

  In computer science, an evolving intelligent system is a fuzzy logic system which improves the own performance by evolving rules. The technique is known from machine learning, in which external patterns are learned by an algorithm. Fuzzy logic based machine learning works with neuro-fuzzy systems. Intelligent systems have to be able to evolve, self-develop, and self-learn continuously in order to reflect a dynamically evolving environment. The concept of Evolving Intelligent Systems (EISs) was conceived around the turn of the century with the phrase EIS itself coined for the first time by Angelov and Kasabov in a 2006 IEEE newsletter and expanded in a 2010 text. EISs develop their structure, functionality and internal knowledge representation through autonomous learning from data streams generated by the possibly unknown environment and from the system self-monitoring. EISs consider a gradual development of the underlying (fuzzy or neuro-fuzzy) system structure and differ from evolutionary and genetic algorithms which consider such phenomena as chromosomes crossover, mutation, selection and reproduction, parents and off-springs. The evolutionary fuzzy and neuro systems are sometimes also called "evolving" which leads to some confusion. This was more typical for the first works on this topic in the late 1990s. == Implementations == EISs can be implemented, for example, using neural networks or fuzzy rule-based models. The first neural networks which consider an evolving structure were published in. These were later expanded by N. Kasabov and P. Angelov for the neuro-fuzzy models. P. Angelov introduced the evolving fuzzy rule-based systems (EFSs) as the first mathematical self-learning model that can dynamically evolve its internal structure and is human interpretable and coined the phrase EFS. Contemporarily, the offline incremental approach for learning an EIS, namely, EFuNN, was proposed by N. Kasabov. P. Angelov, D. Filev, N. Kasabov and O. Cordon organised the first IEEE Symposium on EFSs in 2006 (the proceedings of the conference can be found in). EFSs include a formal (and mathematically sound) learning mechanism to extract it from streaming data. One of the earliest and the most widely cited comprehensive survey on EFSs was done in 2008. Later comprehensive surveys on EFS methods with real applications were done in 2011 and 2016 by E. Lughofer. Other works that contributed further to this area in the following years expanded it to evolving participatory learning, evolving grammar, evolving decision trees, evolving human behaviour modelling, self-calibrating (evolving) sensors (eSensors), evolving fuzzy rule-based classifiers, evolving fuzzy controllers, autonomous fault detectors. More recently, the stability of the evolving fuzzy rule-based systems that consist of the structure learning and the fuzzily weighted recursive least square parameter update method has been proven by Rong. Generalized EFS, which allow rules to be arbitrarily rotated in the feature space and thus to improve their data representability, have been proposed in with significant extensions in towards 'smartness' of the rule bases (thus, termed as "Generalized Smart EFS"), allowing more interpretability and reducing curse of dimensionality. The generalized rule structure was also successfully used in the context of evolving neuro-fuzzy systems. Several facets and challenges for achieving more transparent and understandable rule bases in EFS have been discussed by E. Lughofer in. EISs form the theoretical and methodological basis for the Autonomous Learning Machines (ALMA) and autonomous multi-model systems (ALMMo) as well as of the Autonomous Learning Systems. Evolving Fuzzy Rule-based classifiers, in particular, is a very powerful new concept that offers much more than simply incremental or online classifiers – it can cope with new classes being added or existing classes being merged. This is much more than just adapting to new data samples being added or classification surfaces being evolved. Fuzzy rule-based classifiers are the methodological basis of a new approach to deep learning that was until now considered as a form of multi-layered neural networks. Deep Learning offers high precision levels surpassing the level of human ability and grabbed the imagination of the researchers, industry and the wider public. However, it has a number of intrinsic constraints and limitations. These include: The "black box", opaque internal structure which has millions of parameters and involves ad hoc decisions on the number of layers and algorithm parameters. The requirement for a huge amount of training data samples, computational resources (usually requiring GPUs and/or HPC) and time (usually requiring many hours of training). Iterative search. Requires retraining for new situations (is not evolving). Does not have proven convergence and stability. Most, if not all, of the above limitations can be avoided with the use of the Deep (Fuzzy) Rule-based Classifiers, which were recently introduced based on ALMMo, while achieving similar or even better performance. The resulting prototype-based IF...THEN...models are fully interpretable and dynamically evolving (they can adapt quickly and automatically to new data patterns or even new classes). They are non-parametric and, therefore, their training is non-iterative and fast (it can take few milliseconds per data sample/image on a normal laptop which contrasts with the multiple hours the current deep learning methods require for training even when they use GPUs and HPC). Moreover, they can be trained incrementally, online, or in real-time. Another aspect of Evolving Fuzzy Rule-based classifiers has been proposed in, which, in case of multi-class classification problems, achieves the reduction of class imbalance by cascadability into class sub-spaces and an increased flexibility and performance for adding new classes on the fly from streaming samples.

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  Sora (text-to-video model)

  Sora was a text-to-video model and social media app developed by OpenAI. Using artificial intelligence, the model generated short video clips based on prompts, and could also extend existing short videos. In February 2024, OpenAI previewed examples of its output to the public, with the first generation of Sora released publicly for ChatGPT Plus and ChatGPT Pro users in the United States and Canada in December 2024. The second generation of Sora was released to select users in the US and Canada at the end of September 2025. Sora 2 integrated social media features into the app. The app was shut down on April 26, 2026 and the application programming interface (API) is planned to be discontinued on September 24, 2026, marking the end of the Sora AI brand as a whole. By default, the generator used copyrighted material in its videos, unless copyright holders actively opt out of having their content included. Videos contained a visible, moving digital watermark to prevent misuse, but a week after Sora 2's release, third-party programs became available which could remove the watermark. == Background == Several other models capable of generating video from text had been created prior to Sora, including Meta's Make‑A‑Video, Runway's Gen‑2 and Google Veo. OpenAI, the company behind Sora, had released DALL·E 3, the third of its DALL-E text-to-image models, in September 2023. == History == === Initial release === The team that developed Sora named it after the Japanese word for 'sky' to signify its "limitless creative potential". On February 15, 2024, OpenAI first previewed Sora by releasing multiple clips of high-definition videos that it had created, including an SUV driving down a mountain road, an animation of a "short fluffy monster" next to a candle, two people walking through Tokyo in the snow, and fake historical footage of the California gold rush. OpenAI stated that it was able to generate videos as long as one minute. The company then shared a technical report that highlighted the methods used to train the model. OpenAI CEO Sam Altman also posted a series of tweets responding to Twitter users' prompts with Sora-generated videos of the prompts. As of December 9, 2024, OpenAI had gradually made Sora available to the public for ChatGPT Pro and ChatGPT Plus users in the U.S. and Canada. Prior to this, the company had provided limited access to a small "red team", including experts in misinformation and bias, to perform adversarial testing on the model. The company also shared Sora with a small group of creative professionals, including video makers and artists, to seek feedback on its usefulness in creative fields. In February 2025, OpenAI announced plans to integrate Sora into ChatGPT by letting users generate Sora videos from the chatbot. === Sora 2 === Sora 2 was unveiled on September 30, 2025, with an iOS app at the same time, as well as an Android app two months later. All videos generated by the model feature a visible, moving watermark to prevent misuse of the tool. The previous version of Sora also added a safety watermark to allow viewers to distinguish between real and fictional content. On October 7, 404 Media reported that third-party programs that could remove the watermark from Sora 2 videos had become prevalent. Many outlets, such as Wired magazine, have noted that the Sora 2 app is overtly similar to TikTok in style and features. === Discontinuation === On March 24, 2026, OpenAI announced on X that it was discontinuing Sora in both the mobile app and the API. The Sora app was shut down on April 26, 2026, while the API is planned to be shut down on September 24, 2026. OpenAI's partnership with Disney, which included a licensing agreement allowing Disney characters to be used within Sora, was also coming to an end. The decision prompted British technology news website The Register to label OpenAI a "product-killer", following in the footsteps of other technology companies such as Google, Amazon Web Services, Broadcom, Cloud Software Group, and Netscape. OpenAI did not provide a specific reason for discontinuing Sora in its shutdown notice. The reports that emerged regarding this discontinuity linked the decision to computation shortages, cost pressures, and a broader shift toward core enterprise products. Following its public launch, Sora's worldwide users peaked at around a million before declining to fewer than 500,000, while the service cost an estimated $1 million per day to operate due to the computational demands of video generation. == Legal regulation == In November 2024, an API key for Sora access was leaked by a group of testers on Hugging Face who posted a manifesto stating that they were protesting that Sora was used for "art washing". OpenAI revoked all access three hours after the leak was made public and stated that "hundreds of artists" have shaped the development and that "participation is voluntary". At the time of its launch, Sora 2 allowed copyrighted content by default unless copyright holders contacted OpenAI to restrict the generation of their content on the platform. On October 3, 2025, OpenAI stated that a future update to Sora 2 would give copyright holders "more granular control" over the generation of copyrighted content, but the company did not state whether existing content would be removed. On October 6, the chairman of the MPA criticized OpenAI's approach to copyright with Sora 2. On December 11, 2025, the Walt Disney Company announced that it would invest $1 billion in OpenAI to allow users to generate more than 200 of its copyrighted characters on Sora 2. These characters include those from Disney Animation, Pixar, Marvel Studios, and Star Wars. == Capabilities and limitations == The technology behind Sora is an adaptation of the technology behind DALL-E 3. According to OpenAI, Sora is a diffusion transformer, a denoising latent diffusion model with one transformer as its denoiser. A video is generated in latent space by denoising 3D "patches", then transformed to standard space by a video decompressor. Recaptioning is employed to augment training data by using a video-to-text model to create detailed captions for videos. OpenAI trained the model using publicly available videos as well as copyrighted videos licensed for the purpose, but did not reveal the number or the exact source of the videos. Upon its release, OpenAI acknowledged some of Sora's shortcomings, including its limited capacity to simulate complex physics, to understand causality and to differentiate left from right. OpenAI also stated that, in adherence to the company's existing safety practices, Sora will restrict text prompts for sexual, violent, hateful or celebrity imagery, as well as content featuring existing intellectual property. Sora researcher Tim Brooks stated that the model learned how to create 3D graphics from its dataset alone, while fellow Sora researcher Bill Peebles said that the model automatically created different video angles without being prompted. According to OpenAI, Sora-generated videos are also tagged with C2PA metadata to indicate that they are AI-processed. === Comparison with other models === The Artificial Analysis have placed Sora 2 pro lower than other text-to-video AI generators in the market on its leaderboard. Other models, such as Seedance 2.0 from ByteDance, Runaway 4.5 from Runaway, and Kling 3.0 from KlingAI, have ranked higher than Sora 2.0. == Reception == === Positive === In 2024, Will Douglas Heaven of the MIT Technology Review called the demonstration videos "impressive", but noted that they must have been cherry-picked and may not be representative of Sora's typical output. Lisa Lacy of CNET called its example videos "remarkably realistic – except perhaps when a human face appears close up or when sea creatures are swimming". In October 2025, The New York Times remarked that the release of the Sora 2 app in September 2025 was "jaw-dropping (for better and worse)" though also remarked that the app was a "social network in disguise" and "the type of product that companies like Meta and X have sought to build: a way to bring A.I. to the masses that people can share." The article expressed concern regarding the product's potential impact on society and its potential use to promote misinformation, disinformation, and scams. A 2025 study in Science Advances found that generative AI tools can lower barriers to entry in creative work. It enables users with diverse skill sets, including people with less formal artistic training and technical skills, to act on their creative and imaginative ideas. The lower barrier to entry allows such users previously locked out of the creative industry to produce content and easily act on their creative ideas. === Negative === Some internet users and online content creators, such as Hank Green, called the mobile app "SlopTok," a reference to both the mobile app TikTok and the term AI slop. Filmmaker Tyler Perry announced he would be putting a planned

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  The Cancer Imaging Archive

  The Cancer Imaging Archive (TCIA) is an open-access database of medical images for cancer research. The site is funded by the National Cancer Institute's (NCI) Cancer Imaging Program, and the contract is operated by the University of Arkansas for Medical Sciences. Data within the archive is organized into collections which typically share a common cancer type and/or anatomical site. The majority of the data consists of CT, MRI, and nuclear medicine (e.g. PET) images stored in DICOM format, but many other types of supporting data are also provided or linked to, in order to enhance research utility. All data are de-identified in order to comply with the Health Insurance Portability and Accountability Act and National Institutes of Health data sharing policies. TCIA resources are intended to support: Development of computer aided diagnosis methods (quantitative imaging) Evaluation of unbiased science reproducibility by acceptable standard statistical methods Research on correlation of clinical diagnostic medical images with digital microscopic histological images Exploratory biomarker research for which imaging is a key element Collaboration between cross-disciplinary investigators where imaging is crucial to research on tumor heterogeneity, between patients and within the tumor; tissue temporal response tracking - objective measurements of tumor progression; imaging genomics and Big Data linkages and analysis (clinical, histo-pathology, genomics) TCIA is recognized as a recommended repository for the Scientific Data, PLOS One, and F1000Research journals. It is also listed in the Registry of Research Data Repositories. == History == Prior to the creation of TCIA, the NCI funded development of the National Biomedical Imaging Archive. NBIA is an open-source Web application which was designed to allow the storage and query of DICOM images. TCIA was subsequently initiated in December 2010 to expand data sharing activities by funding a service component which would help address the technical and policy challenges associated with medical imaging research. TCIA leverages open-source tools such as NBIA and Clinical Trials Processor in order to provide its services. == Organization of the archive == The site content is organized into five categories: About Us - Provides a general overview of the site the organizations responsible for operating it. Share Your Data - Provides an overview of how to apply to upload data to the archive. Access the Archive - Provides information about the available data, methods for accessing that data and system usage metrics. Research Activities - Provides information about major research initiatives being conducted using TCIA data as well as information about publication guidelines. Help - Provides information about how to get support using the archive as well as documentation and data usage policies. == Methods for accessing data == Most collections on the Cancer Imaging Archive can be accessed without an account, but a few are restricted to specific users and therefore require an account to access them. TCIA has several ways to browse, filter, and download data. They include: Downloading the entire contents of a collection in bulk Leveraging the NBIA application to filter or search within or across collections Utilizing the RESTful Application programming interface to filter or search within or across collections === Browsing, bulk downloading and access to supporting data === The home page includes a list of all available collections. Basic information about the data such as the cancer type, cancer location, modalities, and number of subjects are also provided. Clicking on a collection name presents a page which describes the data including its original research purpose, how the data were generated, and how it might be useful to other TCIA users. For example, doi:10.7937/K9/TCIA.2015.L4FRET6Z describes the NSCLC-Radiomics-Genomics Collection. In the lower section of the page there are links to search or download the images and any available supporting data in the Data Access tab. Additional tabs provide information about data versions and how to cite the data if used in publications. Many collections contain additional data types such as genomics, patient demographics, treatment details, and expert analyses of the images. This data is usually only found by browsing the collection pages as opposed to searching in NBIA or using the API. === Filtering or searching with NBIA === On each Collection page and also in the main menu of the site there are links to "Search TCIA". This will load the NBIA application which allows simple, advanced and free text searches. Search results follow the conventional DICOM hierarchy of patient -> study -> series. TCIA provides comprehensive documentation on the various features of the NBIA software. === RESTful API === A number of search and download commands are also available through the API. New iterations on the API are released as new versions, so that existing applications developed against older versions of the API continue to function. == Research activities == A list of known publications based on TCIA data is maintained as a convenience to researchers who might want to investigate how it has been used previously. In addition to peer-reviewed publications there are also several major research initiatives described in the Research Activities section of the site. === The CIP TCGA Radiology Initiative for Radiogenomics Research === A large number of collections contain subjects which were analyzed as part of the NIH/NHGRI database known as The Cancer Genome Atlas (TCGA). This offers researchers the ability to correlate clinical images using shared unique identifiers each study that has in TCGA extensive genomic analysis, digital pathology slides and bulk download of individual demographic data and clinical data. A multi-institutional network of investigators volunteering their time is using the data to develop methods to determine prognosis or predict the response to therapy. TCGA collections are designated by nomenclature shared by the TCGA Data Portal (e.g.: TCGA-BRCA, TCGA-GBM, etc). They are subject to a special publication policy which is unique from the other public data on TCIA. === Challenge competitions === TCIA also provides specific data sets used for "Challenge" competitions such as international digital image-focused professional societies like MICCAI, SPIE, or ISBI. A directory of previous and upcoming challenges is maintained on the site. === Digital object identifiers === To facilitate data sharing, many publications encourage authors to include data citations to the data that the authors used in creating the results described in their scholarly papers. In addition, new journals are now available for describing data collections outright (e.g., Nature Scientific Data). TCIA assigns digital object identifiers (DOIs) to all collections when they are submitted, and also has the ability to create persistent identifiers linked to subsets of data held within TCIA that authors may use for data citations in their scholarly papers.

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  Deepfake

  Deepfakes (a portmanteau of 'deep learning' and 'fake') are images, videos, or audio that have been edited or generated using artificial intelligence, AI-based tools or audio-video editing software. They may depict real or fictional people and are considered a form of synthetic media, that is media that is usually created by artificial intelligence systems by combining various media elements into a new media artifact. While the act of creating fake content is not new, deepfakes uniquely leverage machine learning and artificial intelligence techniques, including facial recognition algorithms and artificial neural networks such as variational autoencoders and generative adversarial networks (GANs). In turn, the field of image forensics has worked to develop techniques to detect manipulated images. Deepfakes have garnered widespread attention for their potential use in creating child sexual abuse material, celebrity pornographic videos, revenge porn, fake news, hoaxes, bullying, and financial fraud. Academics have raised concerns about the potential for deepfakes to promote disinformation and hate speech, as well as interfere with elections. In response, the information technology industry and governments have proposed recommendations and methods to detect and mitigate their use. Academic research has also delved deeper into the factors driving deepfake engagement online as well as potential countermeasures to malicious application of deepfakes. From traditional entertainment to gaming, deepfake technology has evolved to be increasingly convincing and available to the public, allowing for the disruption of the entertainment and media industries. == History == Photo manipulation was developed in the 19th century and soon applied to motion pictures. Technology steadily improved during the 20th century, and more quickly with the advent of digital video. Deepfake technology has been developed by researchers at academic institutions beginning in the 1990s, and later by amateurs in online communities. More recently, the methods have been adopted by industry. The development of generative adversarial networks (GANs) in the mid-2010s represented a key technical turning point in the evolution of deepfakes. GANs allowed for the creation of highly realistic fake images and videos by training competing neural networks, achieving a much improved visual fidelity over previous methods of creating the content using rules or by using autoencoders, and formed the basis for modern deepfake methods. === Academic research === Academic research related to deepfakes is split between the field of computer vision, a sub-field of computer science, which develops techniques for creating and identifying deepfakes, and humanities and social science approaches that study the social, ethical, aesthetic implications as well as journalistic and informational implications of deepfakes. As deepfakes have risen in prominence in popularity with innovations provided by AI tools, significant research has gone into detection methods and defining the factors driving engagement with deepfakes on the internet. Deepfakes have been shown to appear on social media platforms and other parts of the internet for purposes ranging from entertainment and education related to deepfakes to misinformation to elicit strong reactions. There are gaps in research related to the propagation of deepfakes on social media. Negativity and emotional response are the primary driving factors for users sharing deepfakes. === Social science and humanities approaches to deepfakes === In cinema studies, deepfakes illustrate how "the human face is emerging as a central object of ambivalence in the digital age". Video artists have used deepfakes to "playfully rewrite film history by retrofitting canonical cinema with new star performers". Film scholar Christopher Holliday analyses how altering the gender and race of performers in familiar movie scenes destabilizes gender classifications and categories. The concept of "queering" deepfakes is also discussed in Oliver M. Gingrich's discussion of media artworks that use deepfakes to reframe gender, including British artist Jake Elwes' Zizi: Queering the Dataset, an artwork that uses deepfakes of drag queens to intentionally play with gender. The aesthetic potentials of deepfakes are also beginning to be explored. Theatre historian John Fletcher notes that early demonstrations of deepfakes are presented as performances, and situates these in the context of theater, discussing "some of the more troubling paradigm shifts" that deepfakes represent as a performance genre. While most English-language academic studies of deepfakes focus on the Western anxieties about disinformation and pornography, digital anthropologist Gabriele de Seta has analyzed the Chinese reception of deepfakes, which are known as huanlian, which translates to "changing faces". The Chinese term does not contain the "fake" of the English deepfake, and de Seta argues that this cultural context may explain why the Chinese response has centered on practical regulatory measures to "fraud risks, image rights, economic profit, and ethical imbalances". === Computer science research on deepfakes === A landmark early project was the "Video Rewrite" program, published in 1997. The program modified existing video footage of a person speaking to depict that person mouthing the words from a different audio track. It was the first system to fully automate this kind of facial reanimation, and it did so using machine learning techniques to make connections between the sounds produced by a video's subject and the shape of the subject's face. Contemporary academic projects have focused on creating more realistic videos and improving deepfake techniques. The "Synthesizing Obama" program, published in 2017, modifies video footage of former president Barack Obama to depict him mouthing the words contained in a separate audio track. The project lists as a main research contribution to its photorealistic technique for synthesizing mouth shapes from audio. The "Face2Face" program, published in 2016, modifies video footage of a person's face to depict them mimicking another person's facial expressions. The project highlights its primary research contribution as the development of the first method for re-enacting facial expressions in real time using a camera that does not capture depth, enabling the technique to work with common consumer cameras. Researchers have also shown that deepfakes are expanding into other domains such as medical imagery. In this work, it was shown how an attacker can automatically inject or remove lung cancer in a patient's 3D CT scan. The result was so convincing that it fooled three radiologists and a state-of-the-art lung cancer detection AI. To demonstrate the threat, the authors successfully performed the attack on a hospital in a White hat penetration test. A survey of deepfakes, published in May 2020, provides a timeline of how the creation and detection of deepfakes have advanced over the last few years. The survey identifies that researchers have been focusing on resolving the following challenges of deepfake creation: Generalization. High-quality deepfakes are often achieved by training on hours of footage of the target. This challenge is to minimize the amount of training data and the time to train the model required to produce quality images and to enable the execution of trained models on new identities (unseen during training). Paired Training. Training a supervised model can produce high-quality results, but requires data pairing. This is the process of finding examples of inputs and their desired outputs for the model to learn from. Data pairing is laborious and impractical when training on multiple identities and facial behaviors. Some solutions include self-supervised training (using frames from the same video), the use of unpaired networks such as Cycle-GAN, or the manipulation of network embeddings. Identity leakage. This is where the identity of the driver (i.e., the actor controlling the face in a reenactment) is partially transferred to the generated face. Some solutions proposed include attention mechanisms, few-shot learning, disentanglement, boundary conversions, and skip connections. Occlusions. When part of the face is obstructed with a hand, hair, glasses, or any other item then artifacts can occur. A common occlusion is a closed mouth which hides the inside of the mouth and the teeth. Some solutions include image segmentation during training and in-painting. Temporal coherence. In videos containing deepfakes, artifacts such as flickering and jitter can occur because the network has no context of the preceding frames. Some researchers provide this context or use novel temporal coherence losses to help improve realism. As the technology improves, the interference is diminishing. Overall, deepfakes are expected to have several implications in media and society, med

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  Model collapse

  Model collapse, also known by other names such as "AI inbreeding", "AI cannibalism", "Habsburg AI", and "model autophagy disorder" or "MAD" is a phenomenon noted in artificial intelligence studies, where machine learning models gradually degrade due to errors coming from uncurated synthetic data, or due to training on the outputs of another model such as prior versions of itself. It is unclear to what extent the phenomenon threatens the long-term development of such models, and some techniques have been proposed to mitigate the effect. == Characteristics == Shumailov et al. coined the term to describe two specific stages to the degradation of machine learning models: early model collapse and late model collapse: In early model collapse, the model begins losing information about the tails of the distribution – mostly affecting minority data. Later work highlighted that early model collapse is hard to notice, since overall performance may appear to improve, while the model loses performance on minority data. In late model collapse, the model loses a significant proportion of its performance, confusing concepts and losing most of its variance. == Mechanism == Using synthetic data as training data can lead to issues with the quality and reliability of the trained model. Model collapse occurs for three main reasons: functional approximation errors sampling errors learning errors Importantly, it happens in even the simplest of models, where not all of the error sources are present. In more complex models the errors often compound, leading to faster collapse. == Disagreement over real-world impact == Some researchers and commentators on model collapse warn that the phenomenon could fundamentally threaten future generative AI development: As AI-generated data is shared on the Internet, it will inevitably end up in future training datasets, which are often crawled from the Internet. If training on "slop" (large quantities of unlabeled synthetic data) inevitably leads to model collapse, this could therefore pose a difficult problem. However, recently, other researchers have disagreed with this argument, showing that if synthetic data accumulates alongside human-generated data, model collapse is avoided. The researchers argue that data accumulating over time is a more realistic description of reality than deleting all existing data every year, and that the real-world impact of model collapse may not be as catastrophic as feared. An alternative branch of the literature investigates the use of machine learning detectors and watermarking to identify model generated data and filter it out. == Mathematical models of the phenomenon == === 1D Gaussian model === In 2024, a first attempt has been made at illustrating collapse for the simplest possible model — a single dimensional normal distribution fit using unbiased estimators of mean and variance, computed on samples from the previous generation. To make this more precise, we say that original data follows a normal distribution X 0 ∼ N ( μ , σ 2 ) {\displaystyle X^{0}\sim {\mathcal {N}}(\mu ,\sigma ^{2})} , and we possess M 0 {\displaystyle M_{0}} samples X j 0 {\displaystyle X_{j}^{0}} for j ∈ { 1 , … , M 0 } {\displaystyle j\in {\{\,1,\dots ,M_{0}\,{}\}}} . Denoting a general sample X j i {\displaystyle X_{j}^{i}} as sample j ∈ { 1 , … , M i } {\displaystyle j\in {\{\,1,\dots ,M_{i}\,{}\}}} at generation i {\displaystyle i} , then the next generation model is estimated using the sample mean and variance: μ i + 1 = 1 M i ∑ j X j i ; σ i + 1 2 = 1 M i − 1 ∑ j ( X j i − μ i + 1 ) 2 . {\displaystyle \mu _{i+1}={\frac {1}{M_{i}}}\sum _{j}X_{j}^{i};\quad \sigma _{i+1}^{2}={\frac {1}{M_{i}-1}}\sum _{j}(X_{j}^{i}-\mu _{i+1})^{2}.} Leading to a conditionally normal next generation model X j i + 1 | μ i + 1 , σ i + 1 ∼ N ( μ i + 1 , σ i + 1 2 ) {\displaystyle X_{j}^{i+1}|\mu _{i+1},\;\sigma _{i+1}\sim {\mathcal {N}}(\mu _{i+1},\sigma _{i+1}^{2})} . In theory, this is enough to calculate the full distribution of X j i {\displaystyle X_{j}^{i}} . However, even after the first generation, the full distribution is no longer normal: It follows a variance-gamma distribution. To continue the analysis, instead of writing the probability density function at each generation, it is possible to explicitly construct them in terms of independent random variables using Cochran's theorem. To be precise, μ 1 {\displaystyle \mu _{1}} and σ 1 {\displaystyle \sigma _{1}} are independent, with μ 1 ∼ N ( μ , σ 2 M 0 ) {\displaystyle \mu _{1}\sim {\mathcal {N}}\left(\mu ,{\frac {\sigma ^{2}}{M_{0}}}\right)} and ( M 0 − 1 ) σ 1 2 ∼ σ 2 Γ ( M 0 − 1 2 , 1 2 ) {\displaystyle (M_{0}-1)\,\sigma _{1}^{2}\sim \sigma ^{2}\,\Gamma \left({\frac {M_{0}-1}{2}},{\frac {1}{2}}\right)} , following a Gamma distribution. Denoting with Z {\displaystyle Z} Gaussian random variables distributed according to N ( 0 , 1 ) {\displaystyle {\mathcal {N}}(0,1)} and with S i {\displaystyle S^{i}} random variables distributed with 1 M i − 1 − 1 Γ ( M i − 1 − 1 2 , 1 2 ) {\displaystyle {\frac {1}{M_{i-1}-1}}\Gamma \left({\frac {M_{i-1}-1}{2}},{\frac {1}{2}}\right)} , it turns out to be possible to write samples at each generation as X j 0 = μ + σ Z j 0 , {\textstyle X_{j}^{0}=\mu +\sigma Z_{j}^{0},} X j 1 = μ + σ M 0 Z 1 + σ S 1 Z j 1 , {\textstyle X_{j}^{1}=\mu +{\frac {\sigma }{\sqrt {M_{0}}}}Z^{1}+\sigma {\sqrt {S^{1}}}Z_{j}^{1},} and more generally X j n = μ + σ M 0 Z 1 + σ M 1 S 1 Z 2 + ⋯ + σ M n − 1 S 1 × ⋯ × S n − 1 Z n + σ S 1 × ⋯ × S n Z j n . {\displaystyle X_{j}^{n}=\mu +{\frac {\sigma }{\sqrt {M_{0}}}}Z^{1}+{\frac {\sigma }{\sqrt {M_{1}}}}{\sqrt {S^{1}}}Z^{2}+\dots +{\frac {\sigma }{\sqrt {M_{n-1}}}}{\sqrt {S^{1}\times \dots \times S^{n-1}}}Z^{n}+\sigma {\sqrt {S^{1}\times \dots \times S^{n}}}Z_{j}^{n}.} Note, that these are not joint distributions, as Z n {\displaystyle Z^{n}} and S n {\displaystyle S^{n}} depend directly on Z j n − 1 {\displaystyle Z_{j}^{n-1}} , but when considering X j n {\displaystyle X_{j}^{n}} on its own the formula above provides all the information about the full distribution. To analyse the model collapse, we can first calculate variance and mean of samples at generation n {\displaystyle n} . This would tell us what kind of distributions we expect to arrive at after n {\displaystyle n} generations. It is possible to find its exact value in closed form, but the mean and variance of the square root of gamma distribution are expressed in terms of gamma functions, making the result quite clunky. Following, it is possible to expand all results to second order in each of 1 / M i {\displaystyle 1/M_{i}} , assuming each sample size to be large. It is then possible to show that 1 σ 2 Var ⁡ ( X j n ) = 1 M 0 + 1 M 1 + ⋯ + 1 M n − 1 + 1 + O ( M i − 2 ) . {\displaystyle {\frac {1}{\sigma ^{2}}}\operatorname {Var} (X_{j}^{n})={\frac {1}{M_{0}}}+{\frac {1}{M_{1}}}+\dots +{\frac {1}{M_{n-1}}}+1+{\mathcal {O}}\left(M_{i}^{-2}\right).} And if all sample sizes M i = M {\displaystyle M_{i}=M} are constant, this diverges linearly as n → ∞ {\displaystyle n\to \infty } : Var ⁡ ( X j n ) = σ 2 ( 1 + n M ) ; E ( X j n ) = μ . {\displaystyle \operatorname {Var} (X_{j}^{n})=\sigma ^{2}\left(1+{\frac {n}{M}}\right);\quad \mathbb {E} (X_{j}^{n})=\mu .} This is the same scaling as for a single dimensional Gaussian random walk. However, divergence of the variance of X j n {\displaystyle X_{j}^{n}} does not directly provide any information about the corresponding estimates of μ n + 1 {\displaystyle \mu _{n+1}} and σ n + 1 {\displaystyle \sigma _{n+1}} , particularly how different they are from the original μ {\displaystyle \mu } and σ {\displaystyle \sigma } . It turns out to be possible to calculate the distance between the true distribution and the approximated distribution at step n + 1 {\displaystyle n+1} , using the Wasserstein-2 distance (which is also sometimes referred to as risk): E [ W 2 2 ( N ( μ , σ 2 ) , N ( μ n + 1 , σ n + 1 2 ) ) ] = 3 2 σ 2 ( 1 M 0 + 1 M 1 + ⋯ + 1 M n ) + O ( M i − 2 ) , {\displaystyle \mathbb {E} \left[\mathbb {W} _{2}^{2}\left({\mathcal {N}}(\mu ,\sigma ^{2}),{\mathcal {N}}(\mu _{n+1},\sigma _{n+1}^{2})\right)\right]={\frac {3}{2}}\sigma ^{2}\left({\frac {1}{M_{0}}}+{\frac {1}{M_{1}}}+\dots +{\frac {1}{M_{n}}}\right)+{\mathcal {O}}\left(M_{i}^{-2}\right),} Var ⁡ [ W 2 2 ( N ( μ , σ 2 ) , N ( μ n + 1 , σ n + 1 2 ) ) ] = 1 2 σ 4 ( 3 M 0 2 + 3 M 1 2 + ⋯ + 3 M n 2 + ∑ i ≠ j 4 M i M j ) + O ( M i − 3 ) . {\displaystyle \operatorname {Var} \left[\mathbb {W} _{2}^{2}\left({\mathcal {N}}(\mu ,\sigma ^{2}),{\mathcal {N}}(\mu _{n+1},\sigma _{n+1}^{2})\right)\right]={\frac {1}{2}}\sigma ^{4}\left({\frac {3}{M_{0}^{2}}}+{\frac {3}{M_{1}^{2}}}+\dots +{\frac {3}{M_{n}^{2}}}+\sum _{i\neq j}{\frac {4}{M_{i}M_{j}}}\right)+{\mathcal {O}}\left(M_{i}^{-3}\right).} This directly shows why model collapse occurs in this simple model. Due to errors from re-sampling the approximated distribution, each generation ends up corresponding to a

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  TCEC Season 14

  The 14th season of the Top Chess Engine Championship took place between 17 November 2018 and 24 February 2019. Stockfish was the defending champion, having defeated Komodo in the previous season's superfinal. The season is notable for two things: the emergence of two strong, new engines, the Komodo variant Komodo Monte Carlo tree search (MCTS) and the neural network engine Leela Chess Zero, and the dramatic superfinal. Komodo MCTS and Leela fought their way from Division 4 and Division 3 respectively to the Premier Division, with Leela further qualifying for the superfinal against Stockfish. The superfinal was a topsy-turvy affair with the lead changing hands several times. It finished as the closest superfinal TCEC has ever seen, with Stockfish winning by a single game, 50.5–49.5 (+10 =81 -9). == Overview == === Structure === The season comprised five divisions: from the lowest Division 4 to the Premier Division. The top two engines of each division promote to the division above, while the bottom two engines relegate. The top two engines of the Premier Division contest a 100-game superfinal. The lengths of the opening books used increases as the divisions progress. The superfinal itself used a custom opening book designed by Jeroen Noomen. === Rules === The TCEC draw and win rules were slightly modified for Season 14. The game is now adjudicated as drawn if, after move 30, both engines have evals ±0.08 for five consecutive moves, and there are neither pawn moves nor a capture. Win adjudication now occurs if both engines have an eval of ±10 for five consecutive moves. Following the controversy over DeusX's participation last season, the uniqueness rule for neural networks was modified such that at least two of the following three hallmarks must be unique: The code for training the neural network The neural network (and weights file) itself The engine that executes this network This change meant DeusX did not meet the uniqueness criteria and therefore did not participate. Aside from this change, the season used the standard rules of the TCEC. == Results == === Division 4 === New entrant Komodo MCTS dominated Division 4, winning by a clear four points, although it did lose a game to second-place finisher rofChade. Fellow new entrant Scorpio NN performed badly and finished last, drawing only one game and losing the rest. === Division 3 === The neural network engine Leela Chess Zero had just missed promotion to Division 2 in the previous season. Since its relatively weak performance last season was partly due to hardware problems, and since it had shown a lot of improvement in strength, it was the hot favourite in this division. Leela lived up to its billing by comprehensively defeating everyone else. In a portent of future divisions however, Leela surprisingly dropped a game to third-place Arasan. Komodo MCTS was also improving quickly, and an updated version finished second behind Leela. The gap between second and third was 6.5 points, illustrating the gulf in class. === Division 2 === Although Division 2 engines are significantly stronger than Division 3, Leela and Komodo MCTS continued to dominate the competition, and again finished first and second. Komodo MCTS only lost one game to Leela, while Leela's tendency to occasionally lose to weaker engines saw her losing a game to 4th-placed Booot. Third place finisher Xiphos gave Leela and Komodo MCTS a run for their money, and was in the running up until the final rounds when it lost a crucial game to Leela. This loss left it one point behind Komodo MCTS in the final standings. === Division 1 === Leela and Komodo MCTS's rampage through the lower divisions continued, and they again finished first and second. In a demonstration of how much it had improved, Leela scored 20/28 in this division, the same score it had achieved in Division 2. This was also a TCEC points record for this division. However, Leela dropped a game against fourth-place finisher Chiron. Komodo MCTS, which had yet to lose a game in the lower divisions except to Leela, also conceded its first loss to third-place Fizbo. At the other end of the table, former champions Jonny and Fritz, which had not been updated, found themselves outclassed and finished second-last and last respectively; however with fellow competitor Ginkgo crashing five times (and therefore being disqualified), Jonny managed to stay in the division. The penultimate game for this division set a new TCEC moves record for a decisive game: 308 moves before Leela defeated Fritz. === Premier division === This was the strongest premier division ever, with multiple-time champions Stockfish, Komodo, and Houdini in the mix. Right from the start it became clear that Stockfish was in a league of its own, and it dominated the division, scoring wins against every other engine without losing a game. Second place however was a hotly-contested affair, with Leela, Komodo and Houdini neck-and-neck for most of the division. Houdini took the early lead, but Komodo gained second after winning two games by forfeit when its sibling Komodo MCTS crashed. This led to murmurs of a "Konspiracy". However, when both Komodo and Houdini failed to score more wins against the lower half of the field, Leela was able to take the lead. Halfway through the division the race was upended again when Leela went through a bad streak, losing three games in a row to Stockfish, Komodo, and Fire. This led to Komodo regaining second place, only for Komodo MCTS to crash yet again. By TCEC rules this meant Komodo MCTS was disqualified and all its scores were zeroed out, which put Leela back in second place. With three games left, Leela missed a win against Andscacs, which would've more or less secured her a place in the superfinal. Meanwhile, Komodo kept the division interesting by winning two of its last three games. Because Komodo had superior tiebreakers to Leela, this meant Komodo would qualify for the superfinal unless Leela managed to hold Stockfish to a draw with Black in the last game of the division. In a tense final game, Stockfish came close to winning, but missed the winning line. Leela managed to draw and qualified for the superfinal. At the other end of the table, it was quickly apparent that Ethereal and Andscacs were the weakest engines and would likely relegate. However, when Komodo MCTS was disqualified (and therefore relegated), it threw both engines a lifeline, since they could now stay in the division by beating the other. Andscacs was able to score a head-to-head win against Ethereal, but was crushed by Stockfish (+0 =2 -4) and Leela (+0 =3 -3). Ethereal didn't manage to score a win in the entire division, but did manage to score more draws than Andscacs, condemning Andscacs to relegation. === Superfinal === Going into the superfinal expectations were high for Leela: she had received a new network and had just won her first major competition when she defeated Houdini in the second TCEC cup. However, she had won the tournament without having played Stockfish (who had been surprisingly eliminated by Houdini in the semifinals). That, plus the fact that Stockfish dominated Premier Division and had never lost a match to Leela, left it unclear which engine was superior, although most spectators favored Stockfish. The superfinal turned out to be a roller-coaster. It began with Stockfish drawing first blood in game 7, and then scoring another win in game 10. Leela hit back with wins in game 11 and 13, but then lost games 20, 21, and 22. This gave Stockfish a 3-point lead. However, in the next 30 games, Leela was the only one to score wins: it first equalized by winning games 25, 27, and 29, and then took the lead by winning games 49 and 53. Stockfish won game 56, but Leela won game 63, maintaining her lead. There followed two dramatic games. In game 65, Leela built up a winning position. Stockfish showed a +153 evaluation, indicating that it had found a forced line leading to an endgame tablebase win; indeed analysis with 7-piece tablebases showed that Leela's position was winning. Under previous seasons' rules, the game would have been adjudicated as a win because Leela's evaluation was above 6.5. However under the new rules, Leela's +8.92 evaluation was not enough to adjudicate. It turned out that Leela could not see the winning line, and shuffled her pieces aimlessly, leading to a 50-move draw. In game 66, Stockfish was given a substantial advantage by the opening, but failed to make the most of it. The evaluations were leveling out to zero when the internet connection to the GPU servers was cut off. By tournament rules, this meant the game was replayed from scratch. After a further internet disconnection and restart, Stockfish handled the opening better and won, leaving Leela with a 1-point lead. In the last third of the superfinal, there followed more drama as Leela often built up strong advantages, but Stockfish showed great resourcefulness in defending inferior positions. Meanwh

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  VACUUM

  VACUUM is a set of normative guidance principles for achieving training and test dataset quality for structured datasets in data science and machine learning. The garbage-in, garbage out principle motivates a solution to the problem of data quality but does not offer a specific solution. Unlike the majority of the ad-hoc data quality assessment metrics often used by practitioners VACUUM specifies qualitative principles for data quality management and serves as a basis for defining more detailed quantitative metrics of data quality. VACUUM is an acronym that stands for: valid accurate consistent uniform unified model

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  Random-fuzzy variable

  In measurements, the measurement obtained can suffer from two types of uncertainties. The first is the random uncertainty which is due to the noise in the process and the measurement. The second contribution is due to the systematic uncertainty which may be present in the measuring instrument. Systematic errors, if detected, can be easily compensated as they are usually constant throughout the measurement process as long as the measuring instrument and the measurement process are not changed. But it can not be accurately known while using the instrument if there is a systematic error and if there is, how much? Hence, systematic uncertainty could be considered as a contribution of a fuzzy nature. This systematic error can be approximately modeled based on our past data about the measuring instrument and the process. Statistical methods can be used to calculate the total uncertainty from both systematic and random contributions in a measurement. However, the computational complexity is very high, and hence not desirable. L.A.Zadeh introduced the concepts of fuzzy variables and fuzzy sets. Fuzzy variables are based on the theory of possibility and hence are possibility distributions. This makes them suitable to handle any type of uncertainty, i.e., both systematic and random contributions to the total uncertainty. Random-fuzzy variable (RFV) is a type 2 fuzzy variable, defined using the mathematical possibility theory, used to represent the entire information associated to a measurement result. It has an internal possibility distribution and an external possibility distribution called membership functions. The internal distribution is the uncertainty contributions due to the systematic uncertainty and the bounds of the RFV are because of the random contributions. The external distribution gives the uncertainty bounds from all contributions. == Definition == A random-fuzzy Variable (RFV) is defined as a type 2 fuzzy variable which satisfies the following conditions: Both the internal and the external functions of the RFV can be identified. Both the internal and the external functions are modeled as possibility distributions (PD). Both the internal and external functions have a unitary value for possibility to the same interval of values. An RFV can be seen in the figure. The external membership function is the distribution in blue and the internal membership function is the distribution in red. Both the membership functions are possibility distributions. Both the internal and external membership functions have a unitary value of possibility only in the rectangular part of the RFV. Therefore, all three conditions have been satisfied. If there are only systematic errors in the measurement, then the RFV simply becomes a fuzzy variable which consists of just the internal membership function. Similarly, if there is no systematic error, then the RFV becomes a fuzzy variable with just the random contributions and therefore, is just the possibility distribution of the random contributions. == Construction == A random-fuzzy variable can be constructed using an internal possibility distribution (rinternal) and a random possibility distribution (rrandom). === The random distribution (rrandom) === rrandom is the possibility distribution of the random contributions to the uncertainty. Any measurement instrument or process suffers from random error contributions due to intrinsic noise or other effects. This is completely random in nature and is a normal probability distribution when several random contributions are combined according to the central limit theorem. However, there can also be random contributions from other probability distributions, such as a uniform distribution, gamma distribution and so on. The probability distribution can be modeled from the measurement data. Then, the probability distribution can be used to model an equivalent possibility distribution using the maximally specific probability-possibility transformation. Some common probability distributions and the corresponding possibility distributions can be seen in the figures. === The internal distribution (rinternal) === rinternal is the internal distribution in the RFV which is the possibility distribution of the systematic contribution to the total uncertainty. This distribution can be built based on the information that is available about the measuring instrument and the process. The largest possible distribution is the uniform or rectangular possibility distribution. This means that every value in the specified interval is equally possible. This actually represents the state of total ignorance according to the theory of evidence which means it represents a scenario in which there is maximum lack of information. This distribution is used for the systematic error when we have absolutely no idea about the systematic error except that it belongs to a particular interval of values. This is quite common in measurements. However, in certain cases, it may be known that certain values have a higher or lower degrees of belief than certain other values. In this case, depending on the degrees of belief for the values, an appropriate possibility distribution could be constructed. === The construction of the external distribution (rexternal) and the RFV === After modeling the random and internal possibility distribution, the external membership function, rexternal, of the RFV can be constructed by using the following equation: where x ∗ {\displaystyle x^{}} is the mode of r random {\displaystyle r_{\textit {random}}} , which is the peak in the membership function of r r a n d o m {\displaystyle r_{random}} and Tmin is the minimum triangular norm. RFV can also be built from the internal and random distributions by considering the α-cuts of the two possibility distributions (PDs). An α-cut of a fuzzy variable F can be defined as Therefore, essentially an α-cut is the set of values for which the value of the membership function μ F ( a ) {\displaystyle \mu _{\rm {F}}(a)} of the fuzzy variable is greater than α. This gives the upper and lower bounds of the fuzzy variable F for each α-cut. The α-cut of an RFV, however, has 4 specific bounds and is given by R F V α = [ X a α , X b α , X c α , X d α ] {\displaystyle RFV^{\alpha }=[X_{a}^{\alpha },X_{b}^{\alpha },X_{c}^{\alpha },X_{d}^{\alpha }]} . X a α {\displaystyle X_{a}^{\alpha }} and X d α {\displaystyle X_{d}^{\alpha }} are the lower and upper bounds respectively of the external membership function (rexternal) which is a fuzzy variable on its own. X b α {\displaystyle X_{b}^{\alpha }} and X c α {\displaystyle X_{c}^{\alpha }} are the lower and upper bounds respectively of the internal membership function (rinternal) which is a fuzzy variable on its own. To build the RFV, let us consider the α-cuts of the two PDs i.e., rrandom and rinternal for the same value of α. This gives the lower and upper bounds for the two α-cuts. Let them be [ X L R α , X U R α ] {\displaystyle [X_{LR}^{\alpha },X_{UR}^{\alpha }]} and [ X L I α , X U I α ] {\displaystyle [X_{LI}^{\alpha },X_{UI}^{\alpha }]} for the random and internal distributions respectively. [ X L R α , X U R α ] {\displaystyle [X_{LR}^{\alpha },X_{UR}^{\alpha }]} can be again divided into two sub-intervals [ X L R α , x ∗ ] {\displaystyle [X_{LR}^{\alpha },x^{}]} and [ x ∗ , X U R α ] {\displaystyle [x^{},X_{UR}^{\alpha }]} where x ∗ {\displaystyle x^{}} is the mode of the fuzzy variable. Then, the α-cut for the RFV for the same value of α, R F V α = [ X a α , X b α , X c α , X d α ] {\displaystyle RFV^{\alpha }=[X_{a}^{\alpha },X_{b}^{\alpha },X_{c}^{\alpha },X_{d}^{\alpha }]} can be defined by Using the above equations, the α-cuts are calculated for every value of α which gives us the final plot of the RFV. A random-fuzzy variable is capable of giving a complete picture of the random and systematic contributions to the total uncertainty from the α-cuts for any confidence level as the confidence level is nothing but 1-α. An example for the construction of the corresponding external membership function (rexternal) and the RFV from a random PD and an internal PD can be seen in the following figure.

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  Tales from the Loop (role-playing game)

  Tales from the Loop (Swedish: Ur Varselklotet), subtitled "Roleplaying in the '80s That Never Was", is an alternative history science fiction tabletop role-playing game published in 2017 by Free League Publishing, the international arm of Swedish game and book publisher Fria Ligan AB, and Modiphius Entertainment. The game, based on the art of Simon Stålenhag, envisions an alternative world where a group of bored and ignored preteens and teens solve mysteries caused by new technology near their hometown. == Description == === Setting === Tales from the Loop is set in an alternative history world taken from the artwork of Simon Stålenhag. According to this alternative timeline, back in the 1940s, research began on particle accelerators. In the 1960s, two massive underground particle accelerators were built in Sweden and Colorado with the promise of a harvest of technological marvels that would change everyone's lives. Tales from the Loop is set twenty years later, in the late 1980s, and the better life has not materialized. Although the particle accelerators have created robots and large skyships, the detritus of failed experiments and the ruins of abandoned high tech company buildings litter the landscape. Generally the life of the average family has not changed for the better. A campaign can either be set in the Mälaren Islands, west of the Swedish capital of Stockholm, or in a city in the Southwest United States that resembles Boulder City, Nevada. There is also a step-by-step guide for the gamemaster to use their own hometown. === Character generation === Player characters are preteens and young teenagers age 10–15 who live in a society where they are bored and largely left to themselves. Players can choose archetypes for their characters including Bookworm, Jock, Troublemaker, Popular Kid and Weirdo. Unlike most role-playing games, characters in Tales from the Loop cannot be killed, although in an ongoing campaign or due to an in-game effect, they are removed from the game if they reach the age of sixteen. === Game system === The game uses the Year Zero Engine first developed by Tomas Härenstam for the post-apocalyptic role-playing game Mutant: Year Zero. (Härenstam served as the editor and project manager for Tales from the Loop.) Problems are resolved by rolling a pool of six-sided dice, with any 6 rolled marking success. Attributes and skills (Sneak, Force, Move, Build, Tinker, Calculate, Contact, Charm, Lead, Investigate, Comprehend, and Empathize) may allow the player to add more dice to the dice pool, increasing the chances of success. However, if a character has earned a condition such as Scared or Injured, dice are removed from the dice pool. === Gameplay === The game principles are that life for the characters is dull and boring, but the area around the town is full of wonderful, mysterious things. An adventure is set up as a Mystery, and in order to successfully resolve the Mystery, characters must overcome a series of Troubles, which can range from having to be home by a certain time to dealing with a bully to disarming or otherwise overcoming a booby-trap on a door that must be opened. Each Mystery is played as a series of scenes, much like a TV drama. Although the gamemaster leads the players into the Mystery, each scene is set collaboratively with the players before action continues. As critic Jukka Kauppinen noted, "The players and the gamemaster take turns verbally staging a new scene — where we are, what it's like there — and only then what we do." === Campaign === The book presents a chronologically-linked set of four Mysteries called "The Four Seasons of Mad Science" that take place over a calendar year: "Summer Break and Killer Birds": The Kids hears pigeons having a conversation and investigate "Grown-Up Attraction": Adults start disappearing without any sign of struggle. "Creatures from the Cretaceous": The search for a missing dog leads to the discovery of creatures that don't belong in our time "I, Wagner": The Kids discover a body in a stream, and are drawn into a Mystery with robots and humans that may affect them closely. == Publication history == In 2017, Swedish artist Simon Stålenhag was raising money on Kickstarter to publish a book of his art titled Tales from the Loop. One of the stretch goals offered was the creation of a role-playing game. A second Kickstarter campaign to publish the role-playing game was initiated by Fria Ligan AB, who surpassed their crowdfunding goal and raised a total of 3,745,896 kr from 5,600 backers. The role-playing game Tales from the Loop was subsequently published as a 184-page hardcover book in 2017 by Free League Publishing, the international arm of Swedish game and book publisher Fria Ligan AB, and Modiphius Entertainment. Cover art and interior art were by Stålenhag, and cartography was by Christian Granath. A stand-alone expansion, Things from the Flood (Swedish: Flodskörden), based on Stålenhag's art book of the same name, was created by Nils Hintze, Rickard Antroia, and Tomas Härenstam. The 216-page hardcover book was published in 2019 with cover art by Stålenhag, interior art by Stålenhag and Reine Rosenberg, and cartography by Christian Granath. In 2020, the setting of the role-playing game was transferred to the TV series Tales from the Loop developed by Nathanial Halpern and Simon Stålenhag. The series tells eight stories of children's encounters with strange technology. == Reception == Shut Up & Sit Down praised Tales from the Loop for its comfortable, contemporary setting, simple rules that make the game easy to run, and the alternation between sci-fi and the kids' lives, but criticized the Type system for characters, noting "a suggested 'Pride' for the Weirdo involved being homosexual –– the only mention of queerness in the entire game. Those of us who identify as GLBTQ bristled at that: why was only the Weirdo queer, with queerness as a (possibly secret) Pride? Why not more fully address being a GLBTQ kid in the 1980s?" The review concluded, "For new RPG players, Tales is a decent game that you'll enjoy and that will make your heart burst. But you need an experienced GM who’s able to either alter the book’s mysteries or create their own, and who can put in work when poor dice rolls hold the players back." Rob Weiland of Geek & Sundry named Tales from the Loop 2017's best RPG release and praised Stålenhag's art, the collaborative nature between the GM and players, and the simplicity of running the game. Weiland concluded, "It has a simple system that is easy to explain but holds up under several plays. It has a setting that’s immediately evocative but also leaves plenty of room for GMs to build out their own world. It offers players a chance to experience the rush of memory, the pain of childhood and the wonder of movies." In a review of Tales from the Loop in Black Gate, Andrew Zimmerman Jones said, "Though not based directly on an established franchise, it draws richly from elements of popular culture that will make it resonate with many players. The focus on narrative play also means it’s a good game for people who aren’t necessarily big into learning a ton of new rules." Jukka Kauppinen, writing for the Finnish games magazine Skrolli, called the game, "downright delicious in its diversity. The science fiction world created by the Swedish artist Simon Stälenhag is, after all, both delightful vintage and tickling novelty." Kauppinen concluded, "This mutual storytelling and interaction makes this game more of a campfire circle than a traditional role-playing game. At the same time, its setting in the real world, tinged with science fiction and even horror, creates a delicious and unique adventure environment." In his 2023 book Monsters, Aliens, and Holes in the Ground, RPG historian Stu Horvath noted that the game system "pushes the players to constantly reevaluate their characters' relationships with the everyday world, for better or worse. It won't be long before navigating entanglements with parents, teachers, siblings and bullies proves just as risky to the characters, and central to the players' experience, as trying to find out what happened with the time portal or dealing with a rampaging robot." Horvath concluded, "The appeal of Tales from the Loop is Stålenhag's deep shadows and purple dusks. They hide the dangers and mysteries that often act [as] an escape hatch, a way to avoid prosaic problems." == Awards == At the 2017 Golden Geek Awards, Tales of the Loop won "RPG of the Year", and was a finalist for " Best RPG Artwork/Presentation" At the 2017 ENnie Awards, Tales from the Loops won five Gold Medals: Product of the Year Best Writing Best Setting Best Game Best Art, Interior

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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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  Histogram of oriented displacements

  Histogram of oriented displacements (HOD) is a 2D trajectory descriptor. The trajectory is described using a histogram of the directions between each two consecutive points. Given a trajectory T = {P1, P2, P3, ..., Pn}, where Pt is the 2D position at time t. For each pair of positions Pt and Pt+1, calculate the direction angle θ(t, t+1). Value of θ is between 0 and 360. A histogram of the quantized values of θ is created. If the histogram is of 8 bins, the first bin represents all θs between 0 and 45. The histogram accumulates the lengths of the consecutive moves. For each θ, a specific histogram bin is determined. The length of the line between Pt and Pt+1 is then added to the specific histogram bin. To show the intuition behind the descriptor, consider the action of waving hands. At the end of the action, the hand falls down. When describing this down movement, the descriptor does not care about the position from which the hand started to fall. This fall will affect the histogram with the appropriate angles and lengths, regardless of the position where the hand started to fall. HOD records for each moving point: how much it moves in each range of directions. HOD has a clear physical interpretation. It proposes that, a simple way to describe the motion of an object, is to indicate how much distance it moves in each direction. If the movement in all directions are saved accurately, the movement can be repeated from the initial position to the final destination regardless of the displacements order. However, the temporal information will be lost, as the order of movements is not stored-this is what we solve by applying the temporal pyramid, as shown in section \ref{sec:temp-pyramid}. If the angles quantization range is small, classifiers that use the descriptor will overfit. Generalization needs some slack in directions-which can be done by increasing the quantization range.

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  Federation of International Robot-soccer Association

  The Federation of International Robot-soccer Association (FIRA) is an international organisation organising competitive soccer competitions between autonomous robots. The matches are usually five-a-side. == History == In 1996 and 1997, this competition was known as MiroSot and was held in Daejeon, Korea. The 1996 competition offered a challenging arena to the younger generation and researchers working with autonomous mobile robotic systems. From 1998 through 2008, it was called the FIRA Cup, and in 2009, it became the FIRA RoboWorld Cup & Congress. The 15th RoboWorld Cup was held at Amrita Vishwa Vidyapeetham, Bangalore, India in September 2010. In 2013, it took place in Kuala Lumpur, Malaysia. The championship started on August 24, 2013, and ended on August 29. At that time, it involved five categories: Micro-Robot Soccer Tournament, Amire, Naro, Simulated Robot, Android, Robo and Humanoid Robot. It attracted teams from Singapore, Indonesia, Taiwan, India, China, South Korea, the United Kingdom, Mexico, Canada, Russia and Malaysia. 80 teams from 11 countries participated. In 2018, the competition had 277 teams participating from 12 countries. === Past Events === == FIRA RoboWorld Cup & Congress == This competition has 4 leagues: FIRA AIR, FIRA Sports, FIRA Challenges, and FIRA Youth. Each league has its own competitions, and each competition can have several events. === FIRA AIR === The FIRA AIR league has two associated competitions, Autonomous Race and Emergency Service. === FIRA Sports === The FIRA Sports league has four associated competitions, HuroCup, RoboSot, SimuroSot, and AndroSot. This the robot soccer league. HuroCup consists of single events for bipedal humanoid robots. The events are: archery, sprint, marathon, united soccer, obstacle run, long jump, spartan race, marathon, weightlifting, and basketball. There is an all-round competition for the single robot that performs the best overall. === FIRA Challenges === The FIRA Challenges league has three associated competitions, Autonomous Cars, Autonomous Cars Simulation, Innovation and Business. === FIRA Youth === The FIRA Youth league has six associated challenges, Sport Robots, HuroCup Junior, CityRacer, DRV_Explorer, Cliff Hanger, and Mission Impossible.

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  Loab

  Loab ( LOBE) is a fictional character that artist and writer Steph Maj Swanson claimed to have discovered with a text-to-image AI model in April 2022. In a viral Twitter thread, Swanson described the images of Loab as an unexpectedly emergent property of the software, saying they discovered them when asking the model to produce something "as different from the prompt as possible". == History == The Sweden-based artist Steph Maj Swanson said that they first generated these images in April 2022 by using the algorithmic technique of "negative prompt weights" accessing latent space. The initial prompt - 'Brando::-1', requesting the opposite of actor Marlon Brando - generated a "skyline logo" with the cryptic lettering "DIGITA PNTICS". Attempting to generate the opposite of this image using the prompt "DIGITA PNTICS skyline logo::-1" yielded what Swanson described as "off-putting images, all of the same devastated-looking older woman with defined triangles of rosacea(?) on her cheeks". Swanson nicknamed the character "Loab", after one of the generated images resembled an album cover that included the printed word "loab". Swanson says that using the image as a prompt for further images produced increasingly violent and gory results. Swanson speculated that something about the image could be "adjacent to extremely gory and macabre imagery in the distribution of the AI's world knowledge". Swanson says that when they combined images of Loab with other pictures, the subsequent results consistently return an image including Loab, regardless of how much distortion they added to the prompts to try and remove her visage. Swanson speculated that the latent space region of the AI map that Loab is located in, in addition to being near gruesome imagery, must be isolated enough that any combinations with other images could only use Loab from her area and no related images due to its isolation. After enough crossbreeding of images and dilution attempts, Swanson was able to eventually generate images without Loab, but found that crossbreeding those diluted images would also eventually lead to a version of Loab to reappear in the resulting images. Swanson has said that "for various reasons" they declined to disclose the software used to create the images. Loab has been referred to as the "first AI-generated cryptid" and as such has gone viral. Despite hyping up the cryptid nature of the discovery in their wording, Swanson admitted that "Loab isn't really haunted, of course", but noted that the mythos that has sprung up around the AI-generated character has gone beyond their initial involvement. Swanson speculated that people sharing pictures and memes of Loab would lead future AIs to use those images as a part of their latent space maps, making her an innate part of the internet landscape, with Swanson adding "If we want to get rid of her, it's already too late." == Response == There has been discussion of whether the Loab series of images are "a legitimate quirk of AI art software, or a cleverly disguised creepypasta." Smithsonian magazine has written that "Loab sparked some lengthy ethical conversations around visual aesthetics, art and technology," and some have criticized the labeling of a woman with rosacea as a horror image, considering this to be "stigmatizing disability". Swanson responded that if the AI map is combining Loab with violent imagery, then that is a "social bias" in the data being used for the image modeling software. The Atlantic writer Stephen Marche described Loab as a "form of expression that has never existed before" whose authorship is unclear and that exists as an "emanation of the collective imagistic heritage, the unconscious visual mind". Laurens Verhagen in de Volkskrant commented that rather than showing that there are "dark horror creatures hidden deep within AI", the existence of Loab instead implies that our current "understanding of AI is limited". Mhairi Aitken at the Alan Turing Institute stated that rather than a "creepy" emergent property, output results like Loab were representative of the "limitations of AI image-generator models" and was more concerned about the urban legends that are born from such "boring" innocuous things and how easily "other people take these things seriously". Carly Cassella for ScienceAlert described Loab as a "modern day tronie" (a style of Dutch painting) that is not representative of an actual person, but just a concept or idea, similar but distinct from works like the Girl With A Pearl Earring. Wired's Joel Warner argued that Loab was only the beginning and that, with AI text generators such as ChatGPT becoming more commonplace, a "linguistic version of Loab" would emerge in that space as well and begin creating ideas through "intentional prompts" or otherwise that will be as disturbing as The 120 Days of Sodom.

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