AI Content Producer

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

  • Neuro-symbolic AI

    Neuro-symbolic AI

    Neuro-symbolic AI is a subfield of artificial intelligence that integrates neural methods (e.g., neural networks and deep learning) with symbolic methods (e.g., formal logic, knowledge representation, and automated reasoning). The goal is to combine the strengths of both approaches, resulting in AI systems that can be trained from raw data and demonstrate robustness against outliers or errors in the base data, while preserving explainability, explicit use of expert knowledge, and explicit cognitive reasoning. As argued by Leslie Valiant and others, the effective construction of rich computational cognitive models demands the combination of symbolic reasoning and efficient machine learning. Gary Marcus argued, "We cannot construct rich cognitive models in an adequate, automated way without the triumvirate of hybrid architecture, rich prior knowledge, and sophisticated techniques for reasoning." Further, "To build a robust, knowledge-driven approach to AI we must have the machinery of symbol manipulation in our toolkit. Too much of useful knowledge is abstract to make do without tools that represent and manipulate abstraction, and to date, the only known machinery that can manipulate such abstract knowledge reliably is the apparatus of symbol manipulation." Angelo Dalli, Henry Kautz, Francesca Rossi, and Bart Selman also argued for such a synthesis. Their arguments attempt to address the two kinds of thinking, as discussed in Daniel Kahneman's book Thinking, Fast and Slow. It describes cognition as encompassing two components: System 1 is fast, reflexive, intuitive, and unconscious. System 2 is slower, step-by-step, and explicit. System 1 is used for pattern recognition. System 2 handles planning, deduction, and deliberative thinking. In this view, deep learning best handles the first kind of cognition, while symbolic reasoning best handles the second kind. Both are necessary for the development of a robust and reliable AI system capable of learning, reasoning, and interacting with humans to accept advice and answer questions. Since the 1990s, dual-process models with explicit references to the two contrasting systems have been the focus of research in both the fields of AI and cognitive science by numerous researchers. In 2025, the adoption of neurosymbolic AI, an approach that integrates neural networks with symbolic reasoning, increased in response to the need to address hallucination issues in large language models. For example, Amazon implemented Neurosymbolic AI in its Vulcan warehouse robots and Rufus shopping assistant to enhance accuracy and decision-making. == Approaches == Approaches for integration are diverse. Henry Kautz's taxonomy of neuro-symbolic architectures follows, along with some examples: Symbolic Neural symbolic is the current approach of many neural models in natural language processing, where words or subword tokens are the ultimate input and output of large language models. Examples include BERT, RoBERTa, and GPT-3. Symbolic[Neural] is exemplified by AlphaGo, where symbolic techniques are used to invoke neural techniques. In this case, the symbolic approach is Monte Carlo tree search and the neural techniques learn how to evaluate game positions. Neural | Symbolic uses a neural architecture to interpret perceptual data as symbols and relationships that are reasoned about symbolically. Neural-Concept Learner is an example. Neural: Symbolic → Neural relies on symbolic reasoning to generate or label training data that is subsequently learned by a deep learning model, e.g., to train a neural model for symbolic computation by using a Macsyma-like symbolic mathematics system to create or label examples. NeuralSymbolic uses a neural net that is generated from symbolic rules. An example is the Neural Theorem Prover, which constructs a neural network from an AND-OR proof tree generated from knowledge base rules and terms. Logic Tensor Networks also fall into this category. Neural[Symbolic] according to Kautz, this approach embeds true symbolic reasoning inside a neural network. These are tightly-coupled neural-symbolic systems, in which the logical inference rules are internal to the neural network. This way, the neural network internally computes the inference from the premises and learns to reason based on logical inference systems. Early work on connectionist modal and temporal logics by Garcez, Lamb, and Gabbay is aligned with this approach. These categories are not exhaustive, as they do not consider multi-agent systems. In 2005, Bader and Hitzler presented a more fine-grained categorization that took into account, e.g., whether the use of symbols included logic and, if so, whether the logic was propositional or first-order logic. The 2005 categorization and Kautz's taxonomy above are compared and contrasted in a 2021 article. Sepp Hochreiter argued that Graph Neural Networks "...are the predominant models of neural-symbolic computing" since "[t]hey describe the properties of molecules, simulate social networks, or predict future states in physical and engineering applications with particle-particle interactions." == Artificial general intelligence == Gary Marcus argues that "...hybrid architectures that combine learning and symbol manipulation are necessary for robust intelligence, but not sufficient", and that there are ...four cognitive prerequisites for building robust artificial intelligence: hybrid architectures that combine large-scale learning with the representational and computational powers of symbol manipulation, large-scale knowledge bases—likely leveraging innate frameworks—that incorporate symbolic knowledge along with other forms of knowledge, reasoning mechanisms capable of leveraging those knowledge bases in tractable ways, and rich cognitive models that work together with those mechanisms and knowledge bases. This echoes earlier calls for hybrid models as early as the 1990s. == History == Garcez and Lamb described research in this area as ongoing, at least since the 1990s. During that period, the terms symbolic and sub-symbolic AI were popular. A series of workshops on neuro-symbolic AI has been held annually since 2005 Neuro-Symbolic Artificial Intelligence. In the early 1990s, an initial set of workshops on this topic were organized. == Research == Key research questions remain, such as: What is the best way to integrate neural and symbolic architectures? How should symbolic structures be represented within neural networks and extracted from them? How should common-sense knowledge be learned and reasoned about? How can abstract knowledge that is hard to encode logically be handled? == Implementations == Implementations of neuro-symbolic approaches include: AllegroGraph: an integrated Knowledge Graph based platform for neuro-symbolic application development. Scallop: a language based on Datalog that supports differentiable logical and relational reasoning. Scallop can be integrated in Python and with a PyTorch learning module. Logic Tensor Networks: encode logical formulas as neural networks and simultaneously learn term encodings, term weights, and formula weights. DeepProbLog: combines neural networks with the probabilistic reasoning of ProbLog. Abductive Learning: integrates machine learning and logical reasoning in a balanced-loop via abductive reasoning, enabling them to work together in a mutually beneficial way. SymbolicAI: a compositional differentiable programming library.

    Read more →
  • Yu-Gi-Oh! VRAINS

    Yu-Gi-Oh! VRAINS

    Yu-Gi-Oh! VRAINS (遊☆戯☆王VRAINS, Yū Gi Ō Vureinzu) is a Japanese anime series created and animated by Nihon Ad Systems (NAS) and Gallop. It is the fifth anime spin-off in the Yu-Gi-Oh! franchise. The series aired in Japan on TV Tokyo from May 10, 2017 to September 25, 2019. It was simulcast outside of Asia by Crunchyroll courtesy of Konami Cross Media NY. It premiered in the United States on November 3, 2020 on Pluto TV. The term 'VRAINS' derives from 'Virtual Reality' (VR), 'Artificial Intelligence' (AI), 'Network System' (NS). The series revolves around the exploits of the protagonist Yusaku within the virtual world named VRAINS. In addition to featuring previous summoning mechanics, VRAINS introduces the new "Link Summon" mechanic. The series was succeeded by Yu-Gi-Oh! Sevens, which premiered in Japan on April 4, 2020. == Plot == In a place known as Den City, thousands of duelists take part in a virtual reality space known as LINK VRAINS, created by SOL Technologies, where users can create unique avatars and participate in games of Duel Monsters with each other. As a mysterious hacker organization known as the Knights of Hanoi, led by Varis, threatens this world, a high-school student and hacking genius named Yusaku Fujiki battles against them under the guise of Playmaker. Both the Knights and SOL Technologies are also after a peculiar self-aware artificial intelligence program, who holds the key to a secret area inside the network named the Cyberse World, which the Knights of Hanoi seek to destroy. As the series begins, Yusaku sees the chance to capture this AI, which he names Ai, who sets off a digital maelstrom in LINK VRAINS known as the Data Storm. As the appearance of this storm gives birth to Speed Duels, in which duellists surf the wind as they duel, Yusaku battles against Hanoi in order to uncover the truth concerning an incident that happened to him 10 years ago. With the help of two Charisma Duellists, Go Onizuka (Japanese) and Skye Zaizen, who uses the alias Blue Angel (season 1), and Blue Maiden (season 2 onwards) online, Playmaker is able to defeat Varis, saving the entire network and part ways with Ai who decides to return to his own world, the Cyberse World. Three months after Hanoi's fall, Ai discovers the Cyberse World destroyed and his friends nowhere to be found, prompting him to return to Yusaku. Meanwhile, Yusaku once again fights as Playmaker after the consciousness of the younger brother of his friend, Cal Kolter, is stolen by a mysterious enemy named Bohman. In pursuit of Bohman, Yusaku and Ai are joined by Theodore Hamilton, a victim of the Lost Incident like Yusaku who uses the alias of Soulburner online and Ai's Fire Ignis friend based on Theodore, Flame. Aqua, the Water Ignis, follows soon after by becoming Skye's partner. At the same time, Varis revives Knights of Hanoi to fight against the new enemies. It's revealed that Bohman is a sentient AI created by the Light Ignis, Lightning, who reveals that he's the one who destroyed the Cyberse World and steals Cal's brother's consciousness. Deeming Ignis superior, he decides to destroy humanity. The Wind Ignis, Windy, also assists Lightning after his program was forcefully rewritten. To defeat Lightning's team, Yusaku and his friends join forces with Knights of Hanoi and enter Lightning's stronghold. Both sides fight until only Playmaker, Ai, and Bohman are left with the latter having absorbed all other Ignis. Before perishing, both Flame and Aqua give Ai the last of their powers, allowing him and Playmaker to defeat Bohman. After the fight against Bohman, LINK VRAINS is shut down and Ai disappear together with Yusaku's robot, Roboppi. Replacing LINK VRAINS, SOL Technology develops a humanoid robot SOLtis, which Ai and Roboppi uses to infiltrate SOL Technology and attack its high executive, Queen. Knowing he'll be the next target, Skye's older brother, Akira, enlists the help of Playmaker and his friends as well as Knights of Hanoi once more to protect him. Ai and Roboppi manage to defeat everyone except Playmaker, Soulburner, and Varis, who are forced to fight decoys. After defeating Akira and taking over SOL Technology, Ai reopens LINK VRAINS and delivers a message for Playmaker that tells the whereabout of his location. Yusaku confronts Ai alone, leading the two of them to duel. Ai explains that Lightning left behind a simulation that shows the world will be destroyed if Ai is the only Ignis left. Fearing that he'll become like Lightning and Bohman, Ai decides to end his life either by Playmaker's hand if he loses or by scattering his free will into the SOLtis if he wins. Despite Playmaker's attempt to dissuade Ai, he still refuses to back down, forcing Playmaker to defeat him. In his last moment, Ai reveals that within the simulations, Yusaku always ends up dying protecting him, which is a future that he wishes to avoid. Three months after the final battle, everyone moves on with their lives and Yusaku goes on a journey. Somewhere within the network, Ai is revealed to be alive. == Production == Yu-Gi-Oh! VRAINS was first announced on December 16, 2016. It began airing on TV Tokyo in Japan on May 10, 2017. The series is being directed by Masahiro Hosoda at Studio Gallop with screenplay by Shin Yoshida and character design by Ken'ichi Hara. It would be the final anime series in the franchise to be animated by Gallop; Bridge would animate future instalments beginning with Yu-Gi-Oh! Sevens. The series ended on September 25, 2019. The series is being simulcast with English subtitles outside of Asia by Crunchyroll. This makes it the first series in the Yu-Gi-Oh! franchise to receive an official simulcast alongside its Japanese broadcast. A localized English adaptation was produced by Konami Cross Media NY. The pilot episode was previewed along with a digitally remastered screening of Yu-Gi-Oh! The Movie: Pyramid of Light on March 11, 2018 and March 12, 2018 in the US, and on June 13, 2018 in the UK. The English dub began airing on Teletoon in Canada on September 1, 2018, and on 9Go! in Australia on April 6, 2019. In November 2020, Cinedigm announced that the streaming service Pluto TV has secured exclusive rights in multiple territories, including the United States and Latin America, to VRAINS. Pluto TV would launch a channel dedicated to the Yu-Gi-Oh! franchise, featuring episodes from the entire Yu-Gi-Oh! Duel Monsters metaseries, including VRAINS, available in English and dubbed in multiple languages. == Trading Card Game == Yu-Gi-Oh! VRAINS introduces new gameplay elements to the Yu-Gi-Oh! Trading Card Game. With the release of the "Link Strike Starter Deck", it introduced the New Master Rules (also known as Master Rule 4 in some countries) to the competitive field of play. Now, only one monster can be summoned directly from each player's Extra Deck at a time, which is placed in one of the two new zones in the middle of the field called the "Extra Monster Zone". Complementing this new gameplay element are the new Link Monsters, honey-comb blue colored monsters that go into your Extra Deck. They do not have "Levels" or "Ranks", but instead have a "Link Rating", which indicates the number of arrows on the card and the required number of monsters required to summon them. A Link Monster's Link Rating can also be used as a number of materials for a Link Summon depending on their rating, subtracted from the Link Monster the player wishes to summon. Link Monsters have a number of Link Arrows equal to their Link Rating that point either vertically, horizontally, and/or diagonally. These Link Arrows that point to an empty Main Monster Zone allow the player to summon monsters from the Extra Deck, which include face-up Pendulum Monsters. The two Pendulum Zones have been moved to the far ends of the Spell & Trap Zones, though they also double as regular Spell & Trap Zones should the player wish not to use them. In 2019, a new format exclusive to the TCG was introduced separate from the main game, known as Speed Duels. The rules are similar to the main game and parallel the formatting used in the mobile game Duel Links. A format meant as a beginner's introduction to the basics, both the field and each player's decks have been drastically simplified to reflect that. Decks contain only 20-30 cards, each player gets only three Main Monster zones, and a turn will immediately end following the Battle Phase. Exclusive to Speed Duels, each player is allowed one Skill Card, which a player places face down during the beginning of a duel and can use anytime. == Reception == The series ranked 52 in Tokyo Anime Award Festival in Best 100 TV Anime 2017 category. The series' rank rose up to 8 in the same award in 2020 with 28,369 votes.

    Read more →
  • List of artificial intelligence artists

    List of artificial intelligence artists

    Many notable artificial intelligence artists have created a wide variety of artificial intelligence art from the 1960s to today. These include: == 20th century == Harold Cohen, active from 1960s to 2010s. Cohen's work is primarily with AARON, a series of computer programs that autonomously create original images. Eric Millikin, active from 1980s to present. Millikin's work includes AI-generated virtual reality, video art, poetry, music, and performance art, on topics such as animal rights, climate change, anti-racism, witchcraft, and the occult. Karl Sims, active from 1980s to present. Sims is best known for using particle systems and artificial life in computer animation. == 21st century == Refik Anadol, active from 2010s to present. Anadol's work includes video installations based on generative algorithms with artificial intelligence. Sougwen Chung, active from 2010s to present. Chung's work includes performances with a robotic arm that uses AI to attempt to draw in a manner similar to Chung. Stephanie Dinkins, active from 2010s to present. Dinkins' work includes recordings of conversations with an artificially intelligent robot that resembles a black woman, discussing topics such as race and the nature of being. Jake Elwes, active from 2010s to present. Their practice is the exploration of artificial intelligence, queer theory and technical biases. Libby Heaney, active from 2010s to present. Heaney's practice includes work with chatbots. Mario Klingemann, active from 2010s to present. Klingemann's works examine creativity, culture, and perception through machine learning and artificial intelligence. Mauro Martino, active from 2010s to present. Martino's work includes design, data visualization and infographics. Trevor Paglen, active from 2000s to present. Paglen's practice includes work in photography and geography, on topics like mass surveillance and data collection. Anna Ridler, active from 2010s to present. Ridler works with collections of information, including self-generated data sets, often working with floral photography.

    Read more →
  • Transdermal optical imaging

    Transdermal optical imaging

    Transdermal optical imaging, also known as transdermal optical imagery or TOI, is a method of detecting blood flow of the face by measuring hemoglobin concentration using a digital video camera. Because of the translucent property of skin, light can travel beneath the skin and re-emit. The re-emitted light from underneath the skin is affected by chromophores, mainly hemoglobin and melanin, which differ in color. The color difference allows TOI machine learning software to separate the images into layers, which are known as bitplanes. It extracts signals rich in hemoglobin and signals rich in melanin, then discards the melanin-rich signals to obtain a recording of hemoglobin changes under the skin. Transdermal optical imaging has been proposed as an alternative to cuff-based methods of measuring blood pressure because it is able to measure heart rate accurately in a "contactless and non-invasive" way. Transdermal optical imaging may be able to detect hidden emotions using the patterns of blood flow in the face.

    Read more →
  • VEX Robotics

    VEX Robotics

    VEX Robotics is one of the main robotics programs for elementary through university students, and a subset of Innovation First International. The VEX Robotics competitions and programs were overseen by the Robotics Education & Competition Foundation (RECF), until May 2026 when VEX split from the foundation. VEX Robotics Competition was named the largest robotics competition in the world by Guinness World Records. There are four leagues of VEX Robotics competitions designed for different age groups and skill levels: VEX V5 Robotics Competition (previously VEX EDR, VRC) is for middle and high school students, and is the largest competition out of the four. VEX Robotics teams have an opportunity to compete annually in the VEX V5 Robotics Competition (V5RC). VEX IQ Robotics Competition is for elementary and middle school students. VEX IQ robotics teams have an opportunity to compete annually in the VEX IQ Robotics Competition (VIQRC). VEX AI is a 'spinoff' of VEX U, for high school and college level students. The competition features no driver control periods, hence the name 'VEX AI'. VEX AI robotics teams have an opportunity to compete in the VEX AI Competition (VAIC). VEX U is a robotics competition for college and university students. The game is similar to V5RC, but traditionally with separate, more relaxed rules on the construction of their robots. In each of the four leagues, students are given a new challenge annually and must design, build, program, and drive a robot to complete the challenge as best they can. The robotics teams that consistently display exceptional mastery in all of these areas will eventually progress to the VEX Robotics World Championship. The description and rules for the season's competition are released during the world championship of the previous season. From 2021 to 2025, the VEX Robotics World Championship was held in Dallas, Texas each year in mid-April or mid-May, depending on which league the teams are competing in. St. Louis, Missouri will host the event in 2026 and 2027. == VEX V5 == VEX V5 is a STEM learning system designed by VEX Robotics and the REC Foundation to help middle and high school students develop problem-solving and computational thinking skills. It was introduced at the VEX Robotics World Championship in April 2019 as a replacement for a previous system called VEX EDR (VEX Cortex). The program utilizes the VEX V5 Construction and Control System as a standardized hardware, firmware, and software compatibility platform. Robotics teams and clubs can use the VEX V5 system to build robots to compete in the annual VEX V5 Robotics Competition. === Construction and Control System === The VEX V5 Construction and Control System is a metal-based robotics platform with machinable, bolt-together pieces that can be used to construct custom robotic mechanisms. The robot is controlled by a programmable processor known as the VEX V5 Brain. The Brain is equipped with a color LCD touchscreen, 21 hardware ports, an SD card port, a battery port, 8 legacy sensor ports, and a micro-USB programming port. Usage with a VEX V5 Radio enables wireless driving and wireless programming of the brain via the VEX V5 Controller. The controller allows wireless user input to the robot brain, and two controllers can be daisy-chained if necessary. Each controller has two hardware ports, a micro-USB port, two 2-axis joysticks, a monochrome LCD, and twelve buttons. The controller's LCD can be written wirelessly from the robot, providing users with configurable feedback from the robot brain. The VEX V5 Motors connect to the brain via the hardware ports and are equipped with an internal optical shaft encoder to provide feedback on the rotational status of the motor. The motor's speed is programmable but may also be altered by exchanging the internal gear cartridge with one of three cartridges of different gear ratios. The three cartridges are 100 rpm, 200 rpm, and 600 rpm. === VEXcode V5 === VEXcode V5 is a Scratch-based coding environment designed by VEX Robotics for programming VEX Robotics hardware, such as the VEX V5 Brain. The block-style interface makes programming simple for elementary through high-school students. VEXcode is consistent across VEX 123, GO, IQ, and V5 and can be used to program the devices from each. VEXcode allows the block programs to be viewed as equivalent C++ or programs to help more advanced students transition from blocks to text. This also allows easy interconversion between text-based and block-based programming. VEXcode also lets students code in C++, which gives the opportunity to learn basic C++, but to collect data from sensors or to move the drivetrain, VEX uses a header file. === PROS === PROS is a C/C++ programming environment for VEX V5 hardware maintained by students of Purdue University through Purdue ACM SIGBots. It provides a more bare-bones environment for more knowledgeable students that allows for an industry-applicable experience. It has a more robust API that allows for more precise control of the hardware for competition-level uses in VRC/VEX U. It is based on FreeRTOS. == VEX V5 Robotics Competition == VEX V5 Robotics Competition (V5RC) is a robotics competition for registered middle and high school teams that utilize the VEX V5 Construction and Control System. In this competition, teams design, cad, build, and program robots to compete at tournaments. At tournaments, teams participate in qualifying matches where two randomly chosen alliances of two teams each compete for the highest team ranking. Before the Elimination Rounds, the top-ranking teams choose their permanent alliance partners, starting with the highest-ranked team, and continuing until the alliance capacity for the tournament is reached. The new alliances then compete in an elimination bracket, and the tournament champions, alongside other award winners, qualify for their regional culminating event. . The current challenge is VEX V5 Robotics Competition: Override. === General rules === Middle and high school students have the same game and rules. The most general and basic rules for the VEX V5 Robotics Competition are as follows, but each year may have exceptions and/or additional constraints. Each robot is partnered with another robot in a pair called an "alliance". In any given match, each alliance competes against one other alliance. One team is designated as the red alliance, and the other as the blue alliance. No robot may exceed the dimensions of an 18-inch cube until the match has begun. No robot may contain hardware, software, material, or content that is not distributed by or explicitly allowed by VEX Robotics. The playing field consists of a 12-foot by 12-foot square of foam tiles bordered by a wall of metal-framed polycarbonate dividers. Anything outside of these border walls is considered as off of the playing field. The various field elements associated with that season's competition are arranged in a defined and reproducible manner before the start of each match. At the start of the match is a 15-second 'autonomous' period, where all four robots navigate the field based on pre-programmed instructions without driver input. After the autonomous period has ended, the 'driver control' period begins. This stage of the match consists of one minute and forty-five seconds of manual control of the robot using one or two handheld controllers utilized by the respective number of 'drivers'. The object of the match is to attain a higher score, i.e. more points, than the opposing alliance. The method by which the alliances attain these points varies significantly with each season. Throughout the match, the blue alliance is not allowed to enter the red alliance's 'protected zone' of the field, and vice versa. The designated areas of the field are often different for each season. During the autonomous period, the protected zone normally consists of half of the field where the alliance starts, whereas the driver control period rarely features a defined protected zone, as was the case for VRC Tipping Point, VRC High Stakes, and VRC Push Back. Intentionally removing game objects from the field will result in a warning, minor violation, and/or major violation (disqualification). Intentionally and repeatedly damaging any of the robots involved, either during the match or otherwise, will result in immediate disqualification. === 2025-2026 Game: Push Back === The objective of the game is to score as many blocks as possible in goals within a 15-second autonomous period, and 1:45 driver control period. Each field consists of two long goals, two center goals, four loaders, and two park zones. ==== Field Element - Goals ==== The goals may be pictured as 'bridges' above the field. Long goals can fit fifteen blocks of any color, while center goals can fit seven. Goals feature control bonuses that are always awarded to the alliance with the most blocks scored in the control zone of each goal. Center goal control zones inco

    Read more →
  • Fuzzy number

    Fuzzy number

    A fuzzy number is a generalization of a regular real number in the sense that it does not refer to one single value but rather to a connected set of possible values, where each possible value has its own weight between 0 and 1. This weight is called the membership function. A fuzzy number is thus a special case of a convex, normalized fuzzy set of the real line. Just like fuzzy logic is an extension of Boolean logic (which uses absolute truth and falsehood only, and nothing in between), fuzzy numbers are an extension of real numbers. Calculations with fuzzy numbers allow the incorporation of uncertainty on parameters, properties, geometry, initial conditions, etc. The arithmetic calculations on fuzzy numbers are implemented using fuzzy arithmetic operations, which can be done by two different approaches: (1) interval arithmetic approach; and (2) the extension principle approach. A fuzzy number is equal to a fuzzy interval. The degree of fuzziness is determined by the a-cut which is also called the fuzzy spread.

    Read more →
  • AI art

    AI art

    Artificial intelligence visual art, or AI art, is visual artwork generated or enhanced through the implementation of artificial intelligence (AI) programs, most commonly using text-to-image models. The process of automated art-making has existed since antiquity. The field of artificial intelligence was founded in the 1950s, and artists began to create art with artificial intelligence shortly after the discipline's founding. A select number of these creations have been showcased in museums and have been recognized with awards. Throughout its history, AI has raised many philosophical questions related to the human mind, artificial beings, and the nature of art in human–AI collaboration. During the AI boom of the 2020s, text-to-image models such as Midjourney, DALL-E and Stable Diffusion became widely available to the public, allowing users to quickly generate imagery with little effort. Commentary about AI art in the 2020s has often focused on issues related to copyright, deception, defamation, and its impact on more traditional artists, including technological unemployment. In August 2023, the US Supreme Court ruled that AI art is ineligible for copyright due to failure to meet human authorship. In March 2026, it declined to hear a case over whether AI-generated art can be subject to copyright. == History == === Early history === Automated art dates back at least to the automata of ancient Greek civilization, when inventors such as Daedalus and Hero of Alexandria were described as designing machines capable of writing text, generating sounds, and playing music. Creative automatons have flourished throughout history, such as Maillardet's automaton, created around 1800 and capable of creating multiple drawings and poems. Also in the 19th century, Ada Lovelace, wrote that "computing operations" could potentially be used to generate music and poems. In 1950, Alan Turing's paper "Computing Machinery and Intelligence" focused on whether machines can mimic human behavior convincingly. Shortly after, the academic discipline of artificial intelligence was founded at a research workshop at Dartmouth College in 1956. Since its founding, AI researchers have explored philosophical questions about the nature of the human mind and the consequences of creating artificial beings with human-like intelligence; these issues have previously been explored by myth, fiction, and philosophy since antiquity. === Artistic history === Since the founding of AI in the 1950s, artists have used artificial intelligence to create artistic works. These works were sometimes referred to as algorithmic art, computer art, digital art, or new media art. One of the first significant AI art systems is AARON, developed by Harold Cohen beginning in the late 1960s at the University of California at San Diego. AARON uses a symbolic rule-based approach to generate technical images in the era of GOFAI programming, and it was developed by Cohen with the goal of being able to code the act of drawing. AARON was exhibited in 1972 at the Los Angeles County Museum of Art. From 1973 to 1975, Cohen refined AARON during a residency at the Artificial Intelligence Laboratory at Stanford University. In 2024, the Whitney Museum of American Art exhibited AI art from throughout Cohen's career, including re-created versions of his early robotic drawing machines. Karl Sims has exhibited art created with artificial life since the 1980s. He received an M.S. in computer graphics from the MIT Media Lab in 1987 and was artist-in-residence from 1990 to 1996 at the supercomputer manufacturer and artificial intelligence company Thinking Machines. In both 1991 and 1992, Sims won the Golden Nica award at Prix Ars Electronica for his videos using artificial evolution. In 1997, Sims created the interactive artificial evolution installation Galápagos for the NTT InterCommunication Center in Tokyo. Sims received an Emmy Award in 2019 for outstanding achievement in engineering development. In 1999, Scott Draves and a team of several engineers created and released Electric Sheep as a free software screensaver. Electric Sheep is a volunteer computing project for animating and evolving fractal flames, which are distributed to networked computers that display them as a screensaver. The screensaver used AI to create an infinite animation by learning from its audience. In 2001, Draves won the Fundacion Telefónica Life 4.0 prize for Electric Sheep. In 2014, Stephanie Dinkins began working on Conversations with Bina48. For the series, Dinkins recorded her conversations with BINA48, a social robot that resembles a middle-aged black woman. In 2019, Dinkins won the Creative Capital award for her creation of an evolving artificial intelligence based on the "interests and culture(s) of people of color." In 2015, Sougwen Chung began Mimicry (Drawing Operations Unit: Generation 1), an ongoing collaboration between the artist and a robotic arm. In 2019, Chung won the Lumen Prize for her continued performances with a robotic arm that uses AI to attempt to draw in a manner similar to Chung. In 2018, an auction sale of artificial intelligence art was held at Christie's in New York where the AI artwork Edmond de Belamy sold for US$432,500, which was almost 45 times higher than its estimate of US$7,000–10,000. The artwork was created by Obvious, a Paris-based collective. In 2024, Japanese film generAIdoscope was released. The film was co-directed by Hirotaka Adachi, Takeshi Sone, and Hiroki Yamaguchi. All video, audio, and music in the film were created with artificial intelligence. In 2025, the Japanese anime television series Twins Hinahima was released. The anime was produced and animated with AI assistance during the process of cutting and conversion of photographs into anime illustrations and later retouched by art staff. Most of the remaining parts such as characters and logos were hand-drawn with various software. === Technical history === Deep learning, characterized by its multi-layer structure that attempts to mimic the human brain, first came about in the 2010s, causing a significant shift in the world of AI art. During the deep learning era, there are mainly these types of designs for generative art: autoregressive models, diffusion models, GANs, normalizing flows. In 2014, Ian Goodfellow and colleagues at Université de Montréal developed the generative adversarial network (GAN), a type of deep neural network capable of learning to mimic the statistical distribution of input data such as images. The GAN uses a "generator" to create new images and a "discriminator" to decide which created images are considered successful. Unlike previous algorithmic art that followed hand-coded rules, generative adversarial networks could learn a specific aesthetic by analyzing a dataset of example images. In 2015, a team at Google released DeepDream, a program that uses a convolutional neural network to find and enhance patterns in images via algorithmic pareidolia. The process creates deliberately over-processed images with a dream-like appearance reminiscent of a psychedelic experience. Later, in 2017, a conditional GAN learned to generate 1000 image classes of ImageNet, a large visual database designed for use in visual object recognition software research. By conditioning the GAN on both random noise and a specific class label, this approach enhanced the quality of image synthesis for class-conditional models. Autoregressive models were used for image generation, such as PixelRNN (2016), which autoregressively generates one pixel after another with a recurrent neural network. Immediately after the Transformer architecture was proposed in Attention Is All You Need (2018), it was used for autoregressive generation of images, but without text conditioning. The website Artbreeder, launched in 2018, uses the models StyleGAN and BigGAN to allow users to generate and modify images such as faces, landscapes, and paintings. In the 2020s, text-to-image models, which generate images based on prompts, became widely used, marking yet another shift in the creation of AI-generated artworks. In 2021, using the influential large language generative pre-trained transformer models that are used in GPT-2 and GPT-3, OpenAI released a series of images created with the text-to-image AI model DALL-E 1. It is an autoregressive generative model with essentially the same architecture as GPT-3. Along with this, later in 2021, EleutherAI released the open source VQGAN-CLIP based on OpenAI's CLIP model. Diffusion models, generative models used to create synthetic data based on existing data, were first proposed in 2015, but they only became better than GANs in early 2021. Latent diffusion model was published in December 2021 and became the basis for the later Stable Diffusion (August 2022), developed through a collaboration between Stability AI, CompVis Group at LMU Munich, and Runway. In 2022, Midjourney was released, followed by Google Brain's Imagen and Pa

    Read more →
  • Estimation of distribution algorithm

    Estimation of distribution algorithm

    Estimation of distribution algorithms (EDAs), sometimes called probabilistic model-building genetic algorithms (PMBGAs), are stochastic optimization methods that guide the search for the optimum by building and sampling explicit probabilistic models of promising candidate solutions. Optimization is viewed as a series of incremental updates of a probabilistic model, starting with the model encoding an uninformative prior over admissible solutions and ending with the model that generates only the global optima. EDAs belong to the class of evolutionary algorithms. The main difference between EDAs and most conventional evolutionary algorithms is that evolutionary algorithms generate new candidate solutions using an implicit distribution defined by one or more variation operators, whereas EDAs use an explicit probability distribution encoded by a Bayesian network, a multivariate normal distribution, or another model class. Similarly as other evolutionary algorithms, EDAs can be used to solve optimization problems defined over a number of representations from vectors to LISP style S expressions, and the quality of candidate solutions is often evaluated using one or more objective functions. The general procedure of an EDA is outlined in the following: t := 0 initialize model M(0) to represent uniform distribution over admissible solutions while (termination criteria not met) do P := generate N>0 candidate solutions by sampling M(t) F := evaluate all candidate solutions in P M(t + 1) := adjust_model(P, F, M(t)) t := t + 1 Using explicit probabilistic models in optimization allowed EDAs to feasibly solve optimization problems that were notoriously difficult for most conventional evolutionary algorithms and traditional optimization techniques, such as problems with high levels of epistasis. Nonetheless, the advantage of EDAs is also that these algorithms provide an optimization practitioner with a series of probabilistic models that reveal a lot of information about the problem being solved. This information can in turn be used to design problem-specific neighborhood operators for local search, to bias future runs of EDAs on a similar problem, or to create an efficient computational model of the problem. For example, if the population is represented by bit strings of length 4, the EDA can represent the population of promising solution using a single vector of four probabilities (p1, p2, p3, p4) where each component of p defines the probability of that position being a 1. Using this probability vector it is possible to create an arbitrary number of candidate solutions. == Estimation of distribution algorithms (EDAs) == This section describes the models built by some well known EDAs of different levels of complexity. It is always assumed a population P ( t ) {\displaystyle P(t)} at the generation t {\displaystyle t} , a selection operator S {\displaystyle S} , a model-building operator α {\displaystyle \alpha } and a sampling operator β {\displaystyle \beta } . == Univariate factorizations == The most simple EDAs assume that decision variables are independent, i.e. p ( X 1 , X 2 ) = p ( X 1 ) ⋅ p ( X 2 ) {\displaystyle p(X_{1},X_{2})=p(X_{1})\cdot p(X_{2})} . Therefore, univariate EDAs rely only on univariate statistics and multivariate distributions must be factorized as the product of N {\displaystyle N} univariate probability distributions, D Univariate := p ( X 1 , … , X N ) = ∏ i = 1 N p ( X i ) . {\displaystyle D_{\text{Univariate}}:=p(X_{1},\dots ,X_{N})=\prod _{i=1}^{N}p(X_{i}).} Such factorizations are used in many different EDAs, next we describe some of them. === Univariate marginal distribution algorithm (UMDA) === The UMDA is a simple EDA that uses an operator α U M D A {\displaystyle \alpha _{UMDA}} to estimate marginal probabilities from a selected population S ( P ( t ) ) {\displaystyle S(P(t))} . By assuming S ( P ( t ) ) {\displaystyle S(P(t))} contain λ {\displaystyle \lambda } elements, α U M D A {\displaystyle \alpha _{UMDA}} produces probabilities: p t + 1 ( X i ) = 1 λ ∑ x ∈ S ( P ( t ) ) x i , ∀ i ∈ 1 , 2 , … , N . {\displaystyle p_{t+1}(X_{i})={\dfrac {1}{\lambda }}\sum _{x\in S(P(t))}x_{i},~\forall i\in 1,2,\dots ,N.} Every UMDA step can be described as follows D ( t + 1 ) = α UMDA ∘ S ∘ β λ ( D ( t ) ) . {\displaystyle D(t+1)=\alpha _{\text{UMDA}}\circ S\circ \beta _{\lambda }(D(t)).} === Population-based incremental learning (PBIL) === The PBIL, represents the population implicitly by its model, from which it samples new solutions and updates the model. At each generation, μ {\displaystyle \mu } individuals are sampled and λ ≤ μ {\displaystyle \lambda \leq \mu } are selected. Such individuals are then used to update the model as follows p t + 1 ( X i ) = ( 1 − γ ) p t ( X i ) + ( γ / λ ) ∑ x ∈ S ( P ( t ) ) x i , ∀ i ∈ 1 , 2 , … , N , {\displaystyle p_{t+1}(X_{i})=(1-\gamma )p_{t}(X_{i})+(\gamma /\lambda )\sum _{x\in S(P(t))}x_{i},~\forall i\in 1,2,\dots ,N,} where γ ∈ ( 0 , 1 ] {\displaystyle \gamma \in (0,1]} is a parameter defining the learning rate, a small value determines that the previous model p t ( X i ) {\displaystyle p_{t}(X_{i})} should be only slightly modified by the new solutions sampled. PBIL can be described as D ( t + 1 ) = α PIBIL ∘ S ∘ β μ ( D ( t ) ) {\displaystyle D(t+1)=\alpha _{\text{PIBIL}}\circ S\circ \beta _{\mu }(D(t))} === Compact genetic algorithm (cGA) === The CGA, also relies on the implicit populations defined by univariate distributions. At each generation t {\displaystyle t} , two individuals x , y {\displaystyle x,y} are sampled, P ( t ) = β 2 ( D ( t ) ) {\displaystyle P(t)=\beta _{2}(D(t))} . The population P ( t ) {\displaystyle P(t)} is then sorted in decreasing order of fitness, S Sort ( f ) ( P ( t ) ) {\displaystyle S_{{\text{Sort}}(f)}(P(t))} , with u {\displaystyle u} being the best and v {\displaystyle v} being the worst solution. The CGA estimates univariate probabilities as follows p t + 1 ( X i ) = p t ( X i ) + γ ( u i − v i ) , ∀ i ∈ 1 , 2 , … , N , {\displaystyle p_{t+1}(X_{i})=p_{t}(X_{i})+\gamma (u_{i}-v_{i}),\quad \forall i\in 1,2,\dots ,N,} where, γ ∈ ( 0 , 1 ] {\displaystyle \gamma \in (0,1]} is a constant defining the learning rate, usually set to γ = 1 / N {\displaystyle \gamma =1/N} . The CGA can be defined as D ( t + 1 ) = α CGA ∘ S Sort ( f ) ∘ β 2 ( D ( t ) ) {\displaystyle D(t+1)=\alpha _{\text{CGA}}\circ S_{{\text{Sort}}(f)}\circ \beta _{2}(D(t))} == Bivariate factorizations == Although univariate models can be computed efficiently, in many cases they are not representative enough to provide better performance than GAs. In order to overcome such a drawback, the use of bivariate factorizations was proposed in the EDA community, in which dependencies between pairs of variables could be modeled. A bivariate factorization can be defined as follows, where π i {\displaystyle \pi _{i}} contains a possible variable dependent to X i {\displaystyle X_{i}} , i.e. | π i | = 1 {\displaystyle |\pi _{i}|=1} . D Bivariate := p ( X 1 , … , X N ) = ∏ i = 1 N p ( X i | π i ) . {\displaystyle D_{\text{Bivariate}}:=p(X_{1},\dots ,X_{N})=\prod _{i=1}^{N}p(X_{i}|\pi _{i}).} Bivariate and multivariate distributions are usually represented as probabilistic graphical models (graphs), in which edges denote statistical dependencies (or conditional probabilities) and vertices denote variables. To learn the structure of a PGM from data linkage-learning is employed. === Mutual information maximizing input clustering (MIMIC) === The MIMIC factorizes the joint probability distribution in a chain-like model representing successive dependencies between variables. It finds a permutation of the decision variables, r : i ↦ j {\displaystyle r:i\mapsto j} , such that x r ( 1 ) x r ( 2 ) , … , x r ( N ) {\displaystyle x_{r(1)}x_{r(2)},\dots ,x_{r(N)}} minimizes the Kullback–Leibler divergence in relation to the true probability distribution, i.e. π r ( i + 1 ) = { X r ( i ) } {\displaystyle \pi _{r(i+1)}=\{X_{r(i)}\}} . MIMIC models a distribution p t + 1 ( X 1 , … , X N ) = p t ( X r ( N ) ) ∏ i = 1 N − 1 p t ( X r ( i ) | X r ( i + 1 ) ) . {\displaystyle p_{t+1}(X_{1},\dots ,X_{N})=p_{t}(X_{r(N)})\prod _{i=1}^{N-1}p_{t}(X_{r(i)}|X_{r(i+1)}).} New solutions are sampled from the leftmost to the rightmost variable, the first is generated independently and the others according to conditional probabilities. Since the estimated distribution must be recomputed each generation, MIMIC uses concrete populations in the following way P ( t + 1 ) = β μ ∘ α MIMIC ∘ S ( P ( t ) ) . {\displaystyle P(t+1)=\beta _{\mu }\circ \alpha _{\text{MIMIC}}\circ S(P(t)).} === Bivariate marginal distribution algorithm (BMDA) === The BMDA factorizes the joint probability distribution in bivariate distributions. First, a randomly chosen variable is added as a node in a graph, the most dependent variable to one of those in the graph is chosen among those not yet in the graph, this procedure is repeated until no remain

    Read more →
  • Incremental heuristic search

    Incremental heuristic search

    Incremental heuristic search algorithms combine both incremental and heuristic search to speed up searches of sequences of similar search problems, which is important in domains that are only incompletely known or change dynamically. Incremental search has been studied at least since the late 1960s. Incremental search algorithms reuse information from previous searches to speed up the current search and solve search problems potentially much faster than solving them repeatedly from scratch. Similarly, heuristic search has also been studied at least since the late 1960s. Heuristic search algorithms, often based on A, use heuristic knowledge in the form of approximations of the goal distances to focus the search and solve search problems potentially much faster than uninformed search algorithms. The resulting search problems, sometimes called dynamic path planning problems, are graph search problems where paths have to be found repeatedly because the topology of the graph, its edge costs, the start vertex or the goal vertices change over time. So far, three main classes of incremental heuristic search algorithms have been developed: The first class restarts A at the point where its current search deviates from the previous one (example: Fringe Saving A). The second class updates the h-values (heuristic, i.e. approximate distance to goal) from the previous search during the current search to make them more informed (example: Generalized Adaptive A). The third class updates the g-values (distance from start) from the previous search during the current search to correct them when necessary, which can be interpreted as transforming the A search tree from the previous search into the A search tree for the current search (examples: Lifelong Planning A, D, D Lite). All three classes of incremental heuristic search algorithms are different from other replanning algorithms, such as planning by analogy, in that their plan quality does not deteriorate with the number of replanning episodes. == Applications == Incremental heuristic search has been extensively used in robotics, where a larger number of path planning systems are based on either D (typically earlier systems) or D Lite (current systems), two different incremental heuristic search algorithms.

    Read more →
  • Mars Plus

    Mars Plus

    Mars Plus is a 1994 science fiction novel by American writer Frederik Pohl and Thomas T. Thomas. It is the sequel to Pohl's 1976 novel Man Plus, which is about a cyborg, Roger Torraway, who is designed to operate in the harsh Martian environment, so that humans can start to colonize Mars. Mars Plus is set fifty years after the first novel. Young Demeter Coghlan travels to Mars, now settled by humans and cyborgs, and finds herself amidst a rebellion by the colonists. == Plot == In Man Plus, set in the not-too-distant future, with threat of the Cold War becoming a fighting war, people plan for the colonization of Mars to escape the seemingly-inevitable Armageddon. The American government begins a cyborg program to create a being capable of surviving the harsh Martian environment: a "Man Plus" called Roger Torraway who is converted from man to cyborg. While his cyborg body is adapted to Mars, he feels strange at first. As more nations develop cyborgs, the computer networks of Earth become sentient. Mars Plus is set fifty years after the first novel, when Mars is settled by humans and cyborgs. The cyborg Torroway is in the novel, but he is not the main character. The protagonist is Demeter Coghlan, a young woman from Earth who travels to Mars. Demeter is seeking information about a canyon that she believes may be significant if the colonists begin to convert Mars to an Earth-like planet. Amidst a backdrop of spies and newly dispatched Earth diplomats, the inexperienced Demeter senses that tensions are rising on the planet. She is further disoriented due to recovering from an accident. Despite the risks in the region, Demeter has intense sexual encounters with some of the local colonists. When the locals rebel against the surveillance set up by the computer network, Demeter is kidnapped by the computer network. == Reception == The reviewer from SFBook Reviews criticizes the book, saying "nothing really happens" and stating that there is no linkage to Man Plus apart from the presence of the cyborg Torraway; moreover, the reviewer states that the questions posed in the first novel are not answered. SF Reviews calls Mars Plus "...not as good as Man Plus but...not bad", and it is praised for "...some nice touches: Demeter continuously forgetting to think about geology; her careless dictation to the computer and her irresistible urges for wild sex." SF Reviews criticizes the writing in Mars Plus for being "...a little careless in places" and in need of more "...more crafting and pruning."

    Read more →
  • Degree of truth

    Degree of truth

    In classical logic, propositions are typically unambiguously considered as being true or false. For instance, the proposition one is both equal and not equal to itself is regarded as simply false, being contrary to the Law of Noncontradiction; while the proposition one is equal to one is regarded as simply true, by the Law of Identity. However, some mathematicians, computer scientists, and philosophers have been attracted to the idea that a proposition might be more or less true, rather than wholly true or wholly false. Consider this pizza is hot. In mathematics, this idea can be developed in terms of fuzzy logic. In computer science, it has found application in artificial intelligence. In philosophy, the idea has proved particularly appealing in the case of vagueness. Degrees of truth is an important concept in law. The term is an older concept than conditional probability. Instead of determining the objective probability, only a subjective assessment is defined. In adjudicative processes, 'substantive truth' is distinct from 'formal legal truth' which comes in four degrees: hearsay, balance of probabilities, proven beyond reasonable doubt and absolute truth (knowledge reserved unto God).

    Read more →
  • Sourcegraph

    Sourcegraph

    Sourcegraph Inc. is a company developing code search and code intelligence tools that semantically index and analyze large codebases so that they can be searched across commercial, open-source, local, and cloud-based repositories. The company has two core products: Code Search and Amp. A previous core product, Cody, retains limited legacy support for existing customers. Code Search was initially released in 2013 under the name Sourcegraph, but was rebranded to Code Search when the company unveiled Cody in 2023. As of 2021, the platform has around 800,000 developers and has indexed around 54 billion lines of code. In July 2025, new accounts for Cody were discontinued, and a new AI coding project, Amp, was released. In December 2025, Amp was spun-off to become a separate company. == History == Sourcegraph Inc. was founded by Stanford graduates Quinn Slack and Beyang Liu to drive the development of a code search and code intelligence tool, formerly called Sourcegraph. It was first released in 2013 but was rebranded to Code Search in 2023. It was partly inspired by Liu's experience using Google Code Search while he was a Google intern, It was designed to "tackle the big code problem" by enabling developers to manage large codebases that span multiple repositories, programming languages, file formats, and projects. Code Search was initially self-hosted by each customer on their own infrastructure. Early customers included Uber, Dropbox, and Lyft. In 2016, Code Search was criticized for being provided with a Fair Source License with the developers explaining that "all of Sourcegraph's source code is publicly available and hackable" and was intended to "help open sourcers strike a balance between getting paid and preserving their values". In 2018, Code Search was licensed under the Apache License 2.0, and Sourcegraph OSS has since been released under the Apache License 2.0. The commercial version, Code Search Enterprise, has been released under its own license. In 2023, Code Search was criticized for dropping the Apache license for most of its code, leaving it public but only available under its Enterprise license. In 2024, the main repository was made completely private. In 2019, Code Search was integrated into the GitLab codebase, giving GitLab users access to a browser-based developer platform. In 2021, a browser-based portal became available, allowing users to browse open-source projects and personal private code for free. In 2022, Sourcegraph Cloud, a commercial single-tenant cloud solution for organizations with more than 100 developers, was launched. Sourcegraph has raised a total of $223 million in financing to date. Its most recent $125 million Series D investment in 2021 valued the company at $2.625 billion, a 300% growth from its previous valuation in 2020. In 2023 Sourcegraph Inc. unveiled their new product Cody, and rebranded Sourcegraph to Code Search. In 2025, Sourcegraph announced the discontinuation of Cody Free, Pro, and Enterprise Starter plans, effective July 23, 2025, and launched Amp, a new AI coding agent. == Products == The company has three major products: Code Search, Amp, and Cody. === Sourcegraph Code Search === Code Search tool is used to search and summarize code. It supports over 30 programming languages and integrates with GitHub and GitLab for code hosting, Codecov for code coverage, and Jira Software for project management. Sourcegraph's Code Search uses a variant of Google's PageRank algorithm to rank results by relevance. While it was originally launched under the Apache License, on June 13, 2023, it was relicensed to the non-open-source "Sourcegraph Enterprise" license. Then, on August 22, 2024, the source code was moved to a private repository, and thus no longer source-available. === Sourcegraph Amp === Launched in 2025, Amp can generate code, generate documentation, write tests, and perform refactoring operations on projects. The tool operates on a credit-based pricing model and is available through web interfaces, command-line tools, and IDE extensions. In December 2025, Sourcegraph announced that Amp would be spun-off to become a separate company. === Sourcegraph Cody === Cody is an AI coding application for writing and maintaining code. Cody was released in December 2023 and was available for Microsoft Visual Studio Code and most JetBrains IDEs. As of July 2025, Cody Free, Pro, and Enterprise Starter plans have been discontinued, with only Cody Enterprise remaining available for existing enterprise customers.

    Read more →
  • Incremental heuristic search

    Incremental heuristic search

    Incremental heuristic search algorithms combine both incremental and heuristic search to speed up searches of sequences of similar search problems, which is important in domains that are only incompletely known or change dynamically. Incremental search has been studied at least since the late 1960s. Incremental search algorithms reuse information from previous searches to speed up the current search and solve search problems potentially much faster than solving them repeatedly from scratch. Similarly, heuristic search has also been studied at least since the late 1960s. Heuristic search algorithms, often based on A, use heuristic knowledge in the form of approximations of the goal distances to focus the search and solve search problems potentially much faster than uninformed search algorithms. The resulting search problems, sometimes called dynamic path planning problems, are graph search problems where paths have to be found repeatedly because the topology of the graph, its edge costs, the start vertex or the goal vertices change over time. So far, three main classes of incremental heuristic search algorithms have been developed: The first class restarts A at the point where its current search deviates from the previous one (example: Fringe Saving A). The second class updates the h-values (heuristic, i.e. approximate distance to goal) from the previous search during the current search to make them more informed (example: Generalized Adaptive A). The third class updates the g-values (distance from start) from the previous search during the current search to correct them when necessary, which can be interpreted as transforming the A search tree from the previous search into the A search tree for the current search (examples: Lifelong Planning A, D, D Lite). All three classes of incremental heuristic search algorithms are different from other replanning algorithms, such as planning by analogy, in that their plan quality does not deteriorate with the number of replanning episodes. == Applications == Incremental heuristic search has been extensively used in robotics, where a larger number of path planning systems are based on either D (typically earlier systems) or D Lite (current systems), two different incremental heuristic search algorithms.

    Read more →
  • Recraft

    Recraft

    Recraft is a generative artificial intelligence program and service developed by the London-based startup Recraft, Inc. The company also offers Recraft Studio, a web-based workspace that lets users create and edit images, vectors, and mockups using various text-to-image models. Like models such as Midjourney and DALL-E, the Recraft model generates digital images from natural language prompts, and is specifically tailored for creative workflows, with features that emphasize brand consistency, text fidelity, and layout control. == History and background == Recraft, Inc. was founded in 2022 by machine learning scientist Anna Veronika Dorogush, best known for co-creating the CatBoost machine learning library at Yandex. The company emerged from stealth on May 31, 2023, with a public release of its vector graphics generation capability on Product Hunt. On January 17, 2024, TechCrunch profiled Recraft’s foundational model for graphic design, noting its emphasis on addressing copyright and ethical concerns associated with AI-generated imagery. On October 28, 2024, TechCrunch reported that Recraft's third major model, V3, had topped a crowdsourced benchmark, surpassing Midjourney and OpenAI's DALL-E in overall image quality. On May 5, 2025, Recraft announced a $30 million Series B funding round led by Accel, reporting more than four million registered users at the time of the announcement. == Models == Recraft has developed multiple generations of its text-to-image models since 2022. Each generation reflects improvements in fidelity, controllability, and support for both raster and vector outputs. The models are proprietary and accessible through the Recraft API, Recraft Studio. Recraft models are also hosted as an image generation API on fal, Replicate, Prodia, and others. === Recraft V2 === Recraft V2 was released in March 2024 and was the company’s first model trained from scratch. It contained roughly 20 billion parameters and introduced native vector image generation, brand-color conditioning, and improved stylistic consistency for icons and illustrations. === Recraft V3 === Recraft V3 was released in October 2024 and achieved first place on the Artificial Analysis benchmark hosted on Hugging Face. The model introduced advances in photorealism, improved rendering of multi-word text, and increased responsiveness to detailed descriptive prompts. It also added the “Artistic” parameter, which allowed users to adjust stylistic intensity within generated images. === Recraft V4 === Recraft V4 was released in February 2026. According to Recraft, V4 is a “ground-up rebuild” aimed at improving prompt accuracy and output quality for design workflows, with the company emphasizing “design taste” and art-directed results. Recraft states that V4 is available in two versions: V4 for faster iteration and V4 Pro for higher-resolution, print-ready assets; the API documentation describes V4 as 1-megapixel output and V4 Pro as 4-megapixel output, with vector variants available for each. === Features === Vectorization: Recraft’s models can generate and convert images into native vector formats, producing scalable graphics composed of editable paths rather than fixed pixels. Style reference: The models support the use of reference images to guide stylistic characteristics such as color palette, line quality, composition, or visual tone. Style mixing: Recraft models can combine multiple stylistic inputs within a single generation. By blending attributes from different references or stylistic instructions, the system produces images that reflect hybrid visual characteristics while maintaining internal consistency. Inpainting editing: The models support localized image modification through inpainting, enabling users to regenerate selected regions of an image while preserving surrounding content. === Model capabilities === Recraft’s models generate raster and vector images from natural-language prompts and are designed to interpret detailed descriptions with attention to composition, style, and text placement. The models support controlled stylistic variation through preset or reference-based guidance and can maintain coherent line, color, or layout structure across multiple outputs. They produce scalable vector graphics alongside high-resolution raster images, and include features for localized image modification through inpainting or outpainting operations. === Technology === Recraft has not publicly disclosed the detailed technical architecture of its models. However, third-party reviews and benchmarks have noted that its performance resembles diffusion models such as Midjourney and Stable Diffusion. The model is designed for creative workflows requiring visual consistency and flexible output formats. Reviewers have noted its ability to generate legible multi-line text, produce high-resolution imagery at various canvas sizes, and to maintain alignment with user-defined brand palettes and design themes. Though not open-source, Recraft's models are accessible through a web interface and commercial API. Advanced features such as style settings and positioning control differentiate it from general-purpose text-to-image models. == Recraft Studio == Recraft Studio is a web-based workspace for generating and editing images using Recraft’s image models and selected external models. The infinite canvas interface provides access to a range of creation and refinement tools within a single environment. Raster and vector generation with styles: Recraft Studio supports the generation of both raster and vector images. Users can apply predefined or reference-based styles during generation, allowing for visual consistency across multiple outputs. Mockups: The studio includes mockup tools that allow generated designs to be placed onto predefined surfaces or templates for visualization and presentation purposes. Vectorization: Recraft Studio provides vectorization tools that convert raster images into editable vector graphics, enabling further modification of shapes, colors, and layout. Image upscaling: The workspace includes image upscaling functionality for increasing resolution while preserving visual detail. Editing tools and natural-language editing: Recraft Studio offers a set of editing tools for modifying images within the canvas, including localized adjustments and natural-language–based editing commands that allow users to describe changes using text. === Supported models === Recraft Studio provides access to Recraft’s proprietary image models as well as other external frontier image models such as Nano Banana, GPT 4-o, Imagen, Flux, and others. == Business model == Recraft develops proprietary image models that are accessible through Recraft Studio and the Recraft API. Recraft Studio operates on a freemium model, offering a free tier with limited daily credits and paid subscriptions for access to additional features. The API follows a credit-based system in which units are purchased separately for programmatic image generation. A team plan supports collaborative use, and the API enables organizations and developers to integrate Recraft’s image generation and editing capabilities into their own systems and workflows.

    Read more →
  • Tilly Norwood

    Tilly Norwood

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

    Read more →