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  • AI alignment

    AI alignment

    In the field of artificial intelligence (AI), alignment aims to steer AI systems toward a person's or group's intended goals, preferences, or ethical principles. An AI system is considered aligned if it advances the intended objectives. A misaligned AI system pursues unintended objectives. It is often difficult for AI designers to specify the full range of desired and undesired behaviors. Therefore, the designers often use simpler proxy goals, such as gaining human approval. But proxy goals can overlook necessary constraints or reward the AI system for merely appearing aligned. AI systems may also find loopholes that allow them to accomplish their proxy goals efficiently but in unintended, sometimes harmful, ways (reward hacking). Advanced AI systems may develop unwanted instrumental strategies, such as seeking power or self-preservation because such strategies help them achieve their assigned final goals. Furthermore, they might develop undesirable emergent goals that could be hard to detect before the system is deployed and encounters new situations and data distributions. Empirical research showed in 2024 that advanced large language models (LLMs) such as OpenAI o1 or Claude 3 sometimes engage in strategic deception to achieve their goals or prevent them from being changed. Some of these issues affect existing commercial systems such as LLMs, robots, autonomous vehicles, and social media recommendation engines. Some AI researchers argue that more capable future systems will be more severely affected because these problems partially result from high capabilities. Many prominent AI researchers and AI company leaders have argued or asserted that AI is approaching human-like (AGI) and superhuman cognitive capabilities (ASI), and could endanger human civilization if misaligned. These include "AI godfathers" Geoffrey Hinton and Yoshua Bengio and the CEOs of OpenAI, Anthropic, and Google DeepMind. These risks remain debated. AI alignment is a subfield of AI safety, the study of how to build safe AI systems. Other subfields of AI safety include robustness, monitoring, and capability control. Research challenges in alignment include instilling complex values in AI, developing honest AI, scalable oversight, auditing and interpreting AI models, and preventing emergent AI behaviors like power-seeking. Alignment research has connections to interpretability research, (adversarial) robustness, anomaly detection, calibrated uncertainty, formal verification, preference learning, safety-critical engineering, game theory, algorithmic fairness, and social sciences. == Objectives in AI == Programmers provide an AI system such as AlphaZero with an "objective function", in which they intend to encapsulate the goal(s) the AI is configured to accomplish. Such a system later populates a (possibly implicit) internal "model" of its environment. This model encapsulates all the agent's beliefs about the world. The AI then creates and executes whatever plan is calculated to maximize the value of its objective function. For example, when AlphaZero is trained on chess, it has a simple objective function of "+1 if AlphaZero wins, −1 if AlphaZero loses". During the game, AlphaZero attempts to execute whatever sequence of moves it judges most likely to attain the maximum value of +1. Similarly, a reinforcement learning system can have a "reward function" that allows the programmers to shape the AI's desired behavior. An evolutionary algorithm's behavior is shaped by a "fitness function". == Alignment problem == In 1960, AI pioneer Norbert Wiener described the AI alignment problem as follows: If we use, to achieve our purposes, a mechanical agency with whose operation we cannot interfere effectively [...] we had better be quite sure that the purpose put into the machine is the purpose which we really desire. AI alignment refers to ensuring that an AI system's objectives match some target. The target is variously defined as the goals of the system's designers or users, widely shared values, objective ethical standards, legal requirements, or the intentions its designers would have if they were more informed and enlightened. In democratic AI alignment, the target is the values and preferences of median voters, which increases political legitimacy. AI alignment is an open problem for modern AI systems and is a research field within AI. Aligning AI involves two main challenges: carefully specifying the purpose of the system (outer alignment) and ensuring that the system adopts the specification robustly (inner alignment). Researchers also attempt to create AI models that have robust alignment, sticking to safety constraints even when users adversarially try to bypass them. === Specification gaming and side effects === To specify an AI system's purpose, AI designers typically provide an objective function, examples, or feedback to the system. But designers are often unable to completely specify all important values and constraints, so they resort to easy-to-specify proxy goals such as maximizing the approval of human overseers, who are fallible. As a result, AI systems can find loopholes that help them accomplish the specified objective efficiently but in unintended, possibly harmful ways. This tendency is known as specification gaming or reward hacking, and is an instance of Goodhart's law. As AI systems become more capable, they are often able to game their specifications more effectively. Specification gaming has been observed in numerous AI systems. OpenAI GPT models for programming—including in real-world cases—have been found to explicitly plan hacking the tests used to evaluate them to falsely appear successful (e.g., explicitly stating "let's hack"). When the company penalized this, many models learned to obfuscate their plans while continuing to hack the tests. Another system was trained to finish a simulated boat race by rewarding the system for hitting targets along the track, but the system achieved more reward by looping and crashing into the same targets indefinitely. A 2025 Palisade Research study found that when tasked to win at chess against a stronger opponent, some reasoning LLMs attempted to hack the game system, for example by modifying or entirely deleting their opponent. Some alignment researchers aim to help humans detect specification gaming and steer AI systems toward carefully specified objectives that are safe and useful to pursue. When a misaligned AI system is deployed, it can have consequential side effects. Social media platforms have been known to optimize their recommendation algorithms for click-through rates, causing user addiction on a global scale. Stanford researchers say that such recommender systems are misaligned with their users because they "optimize simple engagement metrics rather than a harder-to-measure combination of societal and consumer well-being". Explaining such side effects, Berkeley computer scientist Stuart J. Russell said that the omission of implicit constraints can cause harm: "A system [...] will often set [...] unconstrained variables to extreme values; if one of those unconstrained variables is actually something we care about, the solution found may be highly undesirable. This is essentially the old story of the genie in the lamp, or the sorcerer's apprentice, or King Midas: you get exactly what you ask for, not what you want." Some researchers suggest that AI designers specify their desired goals by listing forbidden actions or by formalizing ethical rules (as with Asimov's Three Laws of Robotics). But Russell and Norvig argue that this approach overlooks the complexity of human values: "It is certainly very hard, and perhaps impossible, for mere humans to anticipate and rule out in advance all the disastrous ways the machine could choose to achieve a specified objective." Additionally, even if an AI system fully understands human intentions, it may still disregard them, because following human intentions may not be its objective (unless it is already fully aligned). === Pressure to deploy unsafe systems === Commercial organizations sometimes have incentives to take shortcuts on safety and to deploy misaligned or unsafe AI systems. For example, social media recommender systems have been profitable despite creating unwanted addiction and polarization. Competitive pressure can also lead to a race to the bottom on AI safety standards. For example, OpenAI has been sued for releasing a ChatGPT version that encouraged suicide for some unstable users, a behavior the company had overlooked amid a rushed product release. Similarly, in 2018, a self-driving car killed a pedestrian (Elaine Herzberg) after engineers disabled the emergency braking system because it was oversensitive and slowed development. === Risks from advanced misaligned AI === Some researchers are interested in aligning increasingly advanced AI systems, as progress in AI development is rapid, and industry and governments are trying to build advan

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  • Data processing unit

    Data processing unit

    A data processing unit (DPU) is a programmable computer processor that tightly integrates a general-purpose CPU with network interface hardware. They are also occasionally called "IPUs" (infrastructure processing unit) or "SmartNICs". They can be used in place of traditional NICs to relieve the main CPU of complex networking responsibilities and other "infrastructural" duties; although their features vary, they may be used to perform encryption/decryption, serve as a firewall, handle TCP/IP, process HTTP requests, or even function as a hypervisor or storage controller. These devices can be attractive to cloud computing providers whose servers might otherwise spend a significant amount of CPU time on these tasks, cutting into the cycles they can provide to guests. They see use in other kinds of data center environments as well due to their improved power consumption efficiency for routine networking tasks compared to general-purpose CPUs.

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  • AI Safety Summit 2023

    AI Safety Summit 2023

    The AI Safety Summit 2023 was an international conference on the safety and regulation of artificial intelligence. Organized by the British government, it was held in November 2023 at Bletchley Park, Milton Keynes, England. The event was the first ever global summit on artificial intelligence. The event led to the release of the Bletchley Declaration, which focused on "identifying AI safety risks of shared concern" and "building respective risk-based policies" to "ensure that the benefits of the technology can be harnessed responsibly for good and for all." == Background == The prime minister of the United Kingdom at the time, Rishi Sunak, made AI one of the priorities of his government, announcing that the UK would host a global AI Safety conference in autumn 2023. == Venue == Bletchley Park was a World War II codebreaking facility established by the British government on the site of a Victorian manor and is in the British city of Milton Keynes. It has played an important role in the history of computing, with some of the first modern computers being built at the facility. == Outcomes == 28 countries at the summit, including the United States, China, Australia, and the European Union, have issued an agreement known as the Bletchley Declaration, calling for international co-operation to manage the challenges and risks of artificial intelligence. The Bletchley Declaration affirms that AI should be designed, developed, deployed, and used in a manner that is safe, human-centric, trustworthy and responsible. Emphasis has been placed on regulating "Frontier AI", a term for the latest and most powerful AI systems. Concerns that have been raised at the summit include the potential use of AI for terrorism, criminal activity, and warfare, as well as existential risk posed to humanity as a whole.The president of the United States, Joe Biden, signed an executive order requiring AI developers to share safety results with the US government. The US government also announced the creation of an American AI Safety Institute, as part of the National Institute of Standards and Technology. The tech entrepreneur Elon Musk and Sunak did a live interview on AI safety on 2 November on X. == Notable attendees == The following individuals attended the summit: Rishi Sunak, Prime Minister of the United Kingdom Kamala Harris, Vice President of the United States Charles III, King of the United Kingdom (attending virtually) Elon Musk, CEO of Tesla, owner of X, SpaceX, Neuralink, and xAI Giorgia Meloni, Prime Minister of Italy Ursula von der Leyen, President of the European Commission Sam Altman, CEO of OpenAI Nick Clegg, former British politician and president of global affairs at Meta Platforms Mustafa Suleyman, co-founder of DeepMind Michelle Donelan, UK secretary of state for Science, Innovation and Technology Věra Jourová, the European Commission’s vice-president for Values and Transparency Gina Raimondo, United States secretary of commerce Wu Zhaohui, Chinese vice-minister of science and technology == Global AI Summit series ==

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  • On a Red Station, Drifting

    On a Red Station, Drifting

    On a Red Station, Drifting is a 2012 science fiction novella by Aliette de Bodard. Set in her Xuya Universe, it focuses on two women aboard a space station with a failing artificial intelligence. It received critical acclaim, becoming a finalist for the 2012 Nebula Award for Best Novella, the 2013 Hugo Award for Best Novella, and the 2013 Locus Award for Best Novella. == Plot == Lê Thi Linh is a magistrate of the Dai Viet Empire who is forced to flee her planet after criticizing the Emperor’s wartime policies. At the same time, rebel groups seize control of her planet and kill most of her subordinates. Linh seeks refuge with her distant relatives on Prosper Station. Prosper is controlled by an artificial intelligence called the Honoured Ancestress. Lê Thi Quyen, Linh’s cousin by marriage, manages the day-to-day operations of Prosper while her husband is away at war. Quyen and Linh immediately fall into conflict. Quyen’s brother-in-law Huu Hieu sells his mem-implants, which are copies of their ancestors’ consciousnesses. Meanwhile, the Honoured Ancestress experiences increasingly severe technical problems. Hieu and Linh become close. Hieu plans use the money from the sale of the implants to leave Prosper and marry his lover on a different station. Linh is upset knowing that she will never be able to leave. A visiting cousin, Lady Oahn, provides schematics for the repair of the Honoured Ancestress. In an effort to hurt Quyen, Linh writes an unflattering poem at a banquet honoring Oanh. In doing so, she reveals that Hieu is trying to leave Prosper. Hieu attempts suicide out of shame, but Linh rescues him. Quyen is able to repair the Honoured Ancestress, restoring her functionality at the expense of erasing many of her memories. The Emperor’s Embroidered Guard arrives at Prosper Station in search of Linh. Linh finds the missing mem-implants and returns them to Quyen. Quyen and Linh briefly reconcile before Linh is arrested and removed from Prosper Station. == Major themes == A review in Kirkus wrote that the novel's "familiar setting" was a "departure point" for the novel to explore its themes. The novel explores family ties; almost everyone on Prosper Station is related in some fashion. Additionally, the use of ancestors' mem-implants further explores the concept of family ties, with some descendants being considered more "worthy" than others due to their higher number of implants. The novel also explores questions of worth, as those who fail at ability tests are often forced to become the "lesser partners" in marriages and are discriminated against due to their perceived lack of achievement. The author notes that it is interesting that gender plays no role in the question of worth, and that the majority of the men in the story are actually the "lesser partner" in their marriage. == Style == The novel is divided into three sections. Liz Bourke wrote that each section builds thematically "towards an emotional crescendo". == Reception == Writing for Locus, Liz Bourke praised the novel's exploration of interpersonal conflict between Linh and Quyen, writing that "essentially subverts the popularly-understood derogatory overtones of 'domestic conflict'". Bourke also praised the story's tension, calling it "so well-strung the prose practically vibrates under its influence". A review for Kirkus stated that the novel is a "beautifully realized story and the characters, plot, theme and writing are expertly crafted." === Awards ===

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  • Intelligent database

    Intelligent database

    Until the 1980s, databases were viewed as computer systems that stored record-oriented and business data such as manufacturing inventories, bank records, and sales transactions. A database system was not expected to merge numeric data with text, images, or multimedia information, nor was it expected to automatically notice patterns in the data it stored. In the late 1980s the concept of an intelligent database was put forward as a system that manages information (rather than data) in a way that appears natural to users and which goes beyond simple record keeping. The term was introduced in 1989 by the book Intelligent Databases by Kamran Parsaye, Mark Chignell, Setrag Khoshafian and Harry Wong. The concept postulated three levels of intelligence for such systems: high level tools, the user interface and the database engine. The high level tools manage data quality and automatically discover relevant patterns in the data with a process called data mining. This layer often relies on the use of artificial intelligence techniques. The user interface uses hypermedia in a form that uniformly manages text, images and numeric data. The intelligent database engine supports the other two layers, often merging relational database techniques with object orientation. In the twenty-first century, intelligent databases have now become widespread, e.g. hospital databases can now call up patient histories consisting of charts, text and x-ray images just with a few mouse clicks, and many corporate databases include decision support tools based on sales pattern analysis.

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  • Refik Anadol

    Refik Anadol

    Refik Anadol (born November 7, 1985) is a Turkish American media artist and the co-founder of Refik Anadol Studio and Dataland. Recognized as a pioneer in the aesthetics of data visualization and AI arts, his work merges art, technology, science, and architecture. Through media embedded into existing architecture, live audio-visual performances, immersive rooms, exhibitions, AI data paintings and sculptures, and digital collections, Anadol explores collective memories, humanity's relationship to nature, the perception of space and time, and human-machine collaborations. His work has been exhibited in more than seventy cities on six continents. == Early life and education == Anadol was born and raised in Istanbul and grew up in a family of teachers. He taught himself basic programming on a Commodore 64 when he was eight. His connection to machines began with coding and video games. Anadol saw Blade Runner for the first time when he was eight; his mother said the way he perceived his surroundings shifted the day after he saw the film. He was fascinated with its futuristic depiction of downtown Los Angeles, and transfixed by as a scene during which a replicant discovers that her memories are an implanted component of her machine mind, In a 2024 interview with the Financial Times, he said: "Since that moment, one of my inspirations has been that question: 'What can a machine do with someone else's memories?" Anadol attended Istanbul Bilgi University, where he received a BA in photography and video in 2009 and an MFA in visual communication in 2011. In 2014 he earned an MFA in design media arts at UCLA. He was mentored by Casey Reas, Jennifer Steinkamp, and Christian Moeller. == Career and selected works == === 2008–2012: Data painting, Quadrature and Quadrangle, Istanbul Biennial === As an undergraduate, Anadol read a paper by Lev Manovich on augmented space. Manovich's assertion that collaborations between architects and artists could make the "invisible flow of data visible" triggered Anadol's imagination, and in 2008, he altered built space for the first time. Bringing a projector outside, he projected large-scale images onto a concrete to create the illusion of movement. Coining the term "data painting," the piece inspired Anadol to use light as material and data as pigment. In 2010 he created Quadrature with Alican Aktürk, a fellow graduate student, at the SantralIstanbul Art and Culture Center's main gallery building. A live audio-visual performance that examined the relationship between architecture and media, Quadrature used video projection techniques to manipulate footage of quadrilaterals. He followed Quadrature with Quadrangle at SANAA School of Design in Essen, Germany, using the entire 360 degrees of the building as a canvas. In 2011, he was invited to create a media installation at the Istanbul Biennial on the heavily trafficked İstiklal Avenue. He created a site-specific large-scale interpretation of sounds he recorded during different times of day, and used nine projectors to project reinterpreted images. The work was titled Augmented Structures v1.0. Anadol's first solo exhibition, Sceptical Interventions, was held at the Piveneli Gallery in Istanbul in early 2012. Later that year he moved to Los Angeles to attend UCLA's Design Media Arts program. The first place he went after his arrival was downtown Los Angeles. [6] === 2013–2016: Visions of America: Amériques, Infinity Room, Google AMI === In 2013, at Microsoft Research's annual Design Expo, Anadol presented his idea to use the external walls of Walt Disney Concert Hall as a canvas. His presentation brought him to the attention of Gehry Technologies, and with the support of Gehry and his team, Anadol was offered the use of the original 3D model of the concert hall. For his 2014 thesis project, with assistance from architects and UCLA researchers, he created a site-specific architectural video installation inside the concert hall that accompanied a Los Angeles Philharmonic performance of Edgard Varèse's Amérique. Titled Visions of America: Amériques, Anadol used algorithmic sound analysis to listen and respond to the music in real-time. He tracked conductor Esa-Pekka Salonen's heartbeat with a sensor and used a 3-D camera system to integrate Salonen's movements. He created Infinity Room at the Zorlu PSM for the 2015 Istanbul Biennial. Rather than creating an illusion only with mirrors, Anadol used pixel and 3D projection mapping to transform every surface of the room into an abstract infinite moving space. A temporary immersive environment, Infinity Room was also exhibited at events including South by Southwest in Austin, Texas, the New Zealand Festival in Wellington, New Zealand, and Jeffrey Deitch in Los Angeles. In 2016, Anadol was awarded the first Google Artists and Machine Intelligence Artist Residency; it was just after a team at Google opened up the algorithm for DeepDream, a computer vision program that prompted Anadol's realization that if a machine could learn, it could remember, dream, and hallucinate. === 2017–2018: Winds of Boston, Archive Dreaming, Melting Memories, WDCH Dreams === In 2017, he created the data painting Winds of Boston, a 6' x 13' foot video installation in the lobby of a Boston office building, using software he created to read, analyze and visualize wind speed, direction, and gust patterns along with time and temperature at 20-second intervals recorded over a one-year period at Logan International Airport. Later in the year, he used AI to generate infinite new outputs based on a massive dataset for Archive Dreaming, an immersive installation at Salt Research, a contemporary gallery and library in Istanbul. Inspired by his idea of consciousness and its context within AI, as well as Jorge Luis Borges' The Library of Babel, Anadol used AI and machine learning to look at and discover interactions and correlations between 1.7 million items culled from 40,000 publications covering Turkish contemporary and modern art, architecture, and economics from 1997 to 2010. Archive Dreaming, which could be controlled by users with a joystick, dreamed of unexpected correlations among documents when idle. In 2018, after his uncle was diagnosed with Alzheimer's, Anadol created Melting Memories. Working with scientists from the neuroscape laboratory at the University of California, San Francisco, he used academic data from the neuroscience archives and EEG scans of an anonymous Alzheimer's disease dataset to create AI-generated visuals related to memory, health, degeneration, and decay.Melting Memories was projected on the walls of Pilevneli Gallery; visitors to the exhibition could watch as millions of pixels reconstructed people's memories. Anadol won the Lumen Prize Gold Award for Melting Memories. Anadol was commissioned by the Los Angeles Philharmonic to create an installation to celebrate the orchestra's centennial anniversary in 2018. He worked with Google's Kenric MacDowell to create WDCH Dreams, using algorithmic visualizations of data to mimic the process of human dreaming. Projected across the exterior walls of Walt Disney Concert Hall using 42 large-scale projectors with 50K visual resolution, 8-channel sound, and 1.2M luminance, Anadol painted with data points culled from the orchestra's archives, including 587,763 images, 1,880 videos, 1,483 metadata files, and 17,773 audio files. Because Gehry gave him access to the 3D architectural files of Walt Disney Concert Hall, Anadol knew the exact contours of the building. WDCH Dreams debuted in September 2018. A 12-minute performance in three parts staged every 30 minutes over ten nights, "Centennial Memories,” the first piece, used 44.5 terabytes of historical data from the Phil's archives. It was followed by "Consciousness", which processed every note the orchestra has ever recorded, using billions of data points to generate connections; and "Dream," which merged "Centennial Memories" and "Consciousness" to create hallucinations that were described in the New York Times as "a sort of combinatorial Fantasia. === 2019–2021: Machine Hallucinations: NYC, Machine Hallucinations: Nature Dreams, Machine Memories: Space, Quantum Memories === In 2019, Refik Anadol presented Latent History at Fotografiska Stockholm. The site specific installation transformed photographic archives of Stockholm into a large scale, machine generated visual projection displayed in the museum’s main exhibition hall. Drawing on thousands of archival images spanning approximately 150 years, the work used artificial intelligence to reinterpret the city’s historical imagery as a continuously evolving visual narrative.. Anadol began thinking about the work that would become the Machine Hallucinations series while in residence at Google. In 2019, he completed the first work in the series, Machine Hallucinations: NYC, which used 300 million photos of New York City and 113 million additional data points, including subway sounds, ra

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  • Libby Heaney

    Libby Heaney

    Libby Heaney is a British artist and quantum physicist known for her pioneering work on AI and quantum computing. She works on the impact of future technologies and is widely known to be the first artist to use quantum computing as a functioning artistic medium. Her work has been featured internationally, including in the Victoria and Albert Museum, Tate Modern and the Science Gallery. == Early life and scientific career == Heaney is from Tamworth, Staffordshire. She lived in Amington, and went to Greenacres Primary School and Woodhouse High School, now called Landau Forte Academy Amington. She took her GCSEs in 1999. She studied physics at Imperial College London, graduating in 2005 with first class honours. Libby pursued a successful career in quantum physics, completing a PhD thesis on mode entanglement in ultra-cold atomic gases at the University of Leeds, and pursued her own research as a postdoctoral fellow at the University of Oxford and at the National University of Singapore. In 2008, Heaney was awarded the Institute of Physics Very Early Career Woman in Physics Award (now Jocelyn Bell Burnell Medal and Prize). == Artistic career == In 2013 Heaney returned to the UK and completed a master's degree at the University of the Arts London. She studied arts and science at Central Saint Martins and graduated in 2015. She then became a lecturer at the Royal College of Art, teaching Information Experience Design. In 2016, she created Lady Chatterley's Tinderbot which presented Tinder conversations between real users and AI bots programmed using Lady Chatterley's Lover. Lady Chatterley's Tinderbot was covered by BBC News, TheJournal.ie and the Irish Examiner and was exhibited internationally. In 2017, Heaney was commissioned by Sky Arts and the Barbican Centre to design Britbot, an internet bot built using artificial intelligence and the citizenship book Life in the UK: a guide for new residents. The book, a manual for the citizenship test, has been described by Heaney as being "largely a white male privileged version of British history and culture". The bot spoke to the public about what it meant to be British and learnt from their responses to become an ever changing, plural version of Britishness. She was awarded an Arts Council England grant to widen participation of the Britbot to social media. Heaney has exhibited Britbot at the Victoria and Albert Museum, at CogX, the Sheffield Documentary Festival the Edinburgh TV festival, and Art Ai in Leicester. She has been creating with quantum computing since 2019, and has created artworks using quantum computing for Light Art Space (LAS) in Berlin, Somerset House and arebyte in London. Using quantum code, storytelling, and immersive installations and performances, Libby Heaney's works such as Ent- and slimeqore explore and warn against the double-edged potential of quantum computing and its exploitation by private companies. In 2022, Ent- received the Lumen Prize immersive environment award. == Major works == === Ent- and The Evolution of Ent-: QX (2022) === In 2022, Libby Heaney was commissioned by Light Art Space to create Ent-, a 360 immersive installation that revisits Bosch's Garden of Earthly Delights through quantum. The work uses quantum computing as both a medium and a paradigm through which to conceive human and non-human relations. Ent- was exhibited at LAS, Ars Electronica, and arebyte gallery in London. The work was also modified to fit a full dome projection at the Deutsches Museum in Munich, projected onto a public facade in Seoul, and turned into a playable version for an exhibition at Nahmad Contemporary in New York. In 2022, Ent- was a winner in the Art Science Category of the Falling Walls prize and received the Lumen Prize immersive environment award. The Evolution of Ent-:QX, first displayed at arebyte gallery in London, builds on Ent- and imagines a fictional quantum computing company (QX) that appropriates, parodies and subverts the language of big tech in order to educate the viewer on current profit-oriented uses of quantum computing as well as propose new ways to think about and use the technology. In 2023, Ent- was acquired and displayed by the 0xCollection, a new media arts institution based in Basel, in their inaugural exhibition in Prague. === Touch is response-ability (2020) === Touch is response-ability is an instagram performance and touch screen installation where participants activate animations by flicking through instagram stories. The performance investigates representations of the female body in art history and through computer vision to see how stereotypes are socially constructed and maintained. Images of the body are passed through a quantum algorithm, and as the users interact with them they progressively become fragmented and dissolve beyond recognition. The work was originally commissioned by Hervisions at LUX in 2020 and performed on the LUX instagram account. It was also exhibited at Etopia Zaragoza in 2021 and at Art SG with Gazelli Art House in 2023. === Lady Chatterley's Tinderbot (2016) === In Lady Chatterley's Tinderbot, Libby Heaney programmed a bot to engage in conversations on Tinder by using lines from the 1928 novel Lady Chatterley's Lover, by D.H. Lawrence. The work was first shown as an interactive installation in 2016 at the Dublin Science Gallery, allowing visitors to swipe left or right to navigate through various conversations. Lady Chatterley's Tinderbot was also exhibited at Sonar+D in Barcelona (2017), the Telefonica Fundacion in Lima (2017), the Lowry in Salford (2018), RMIT gallery in Melbourne (2021), Microwave Festival in Hong Kong (2022) and was shortlisted for the HEK-Basel Net-based art award in 2018. == Selected exhibitions == 2023 - Synesthetic Immersion, 0xCollection, Prague 2023 - slimeQrawl, Shoreditch Arts Club, London 2023 - ...and that's only (half) the story, PLUS ONE Gallery, Antwerp 2023–Present Futures Festival, Centre of Contemporary Art, Glasgow 2023 - Realtime: Lilypads: Mediating Exponential Systems, NXT Museum, Amsterdam 2023 - My Rhino is not a Myth, Art Encounters Biennial, Timisoara 2023 - Ent-er the Garden of Forking Paths, Gazelli Art House, London 2023 - Energeia, Etopia, Zaragoza 2022 - Every Kind of Wind: Calder and the 21st Century, Nahmad Contemporary, New York 2022 - remiQXing still, Fiumano Clase, London 2022 - the Evolution of Ent-: QX, arebyte, London 2022 - Ent-, Light Art Space x Schering Stiftung, Berlin 2022 - Among the Machines, Zabludowicz Collection, London 2022 - BioMedia, ZKM, Karlsruhe 2021 - CASCADE, Southbank Centre, London 2021 - Agency is the Ability to Act, Holden Gallery, Manchester 2021 - BIAS, Science Gallery, Dublin 2021 - Ars Electronica, Linz 2021 - AI & Music, S+T+ARTS & Sonar Festival, CCCB, Barcelona 2020 - Real Time Constraints, arebyte, London 2019 - Euro(re)visions, Goethe Institut, London 2019 - Higher Resolutions with Hyphen Labs, Tate Modern, London 2019 - Open Fest with Sky Arts, Barbican, London 2018 - Digital Design Weekend, V&A, London 2018 - FAKE, Science Gallery, Dublin 2017 - Ars Electronica, Linz 2017 - Entangled: Quantum Computer Art, Royal College of Art, London 2017 - Humans Need Not Apply, Science Gallery, Dublin == Awards and honours == Her awards include: 2022 - Lumen Prize, BCS Immersive Environment Award (for Ent-) 2022 - Mozilla Foundation Creative Media Award, USA 2022 - nominated for the S+T+ARTS prize 2021 - Adaptation Award, Artquest, London 2021 - British Council Amplify Collaboration Award 2018 - Arts Council England, National Lottery Project Grant 2018 - HeK Basel Net Based Art Award (shortlisted for Tinderbot)

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  • Torment: Tides of Numenera

    Torment: Tides of Numenera

    Torment: Tides of Numenera is a 2017 role-playing video game developed by inXile Entertainment and published by Techland Publishing for Microsoft Windows, macOS, Linux, PlayStation 4 and Xbox One. It is a spiritual successor to 1999's Planescape: Torment. The game takes place in The Ninth World, a science fantasy campaign setting written by Monte Cook for his tabletop RPG Numenera. Torment: Tides of Numenera, like its predecessor, is primarily story-driven while placing greater emphasis on interaction with the world and characters, with combat and item accumulation taking a secondary role. The game was crowd-funded through Kickstarter in March 2013. At the campaign's conclusion, Torment: Tides of Numenera had set the record for highest-funded video game on Kickstarter with over US$4 million pledged. The release date was initially set for December 2014, but was pushed back to February 2017. == Gameplay == Torment: Tides of Numenera uses the Unity engine to display the pre-rendered 2.5D isometric perspective environments. The tabletop ruleset of Monte Cook's Numenera has been adapted to serve as the game's rule mechanic, and its Ninth World setting is where the events of Torment: Tides of Numenera take place. The player experiences the game from the point of view of the Last Castoff, a human host that was once inhabited by a powerful being, but was suddenly abandoned without memory of prior events. As with its spiritual predecessor, Planescape: Torment, the gameplay of Torment: Tides of Numenera places a large emphasis on storytelling, which unfolds through a "rich, personal narrative", and complex character interaction through the familiar dialog tree system. The player is able to select the gender of the protagonist, who will otherwise start the game as a "blank slate", and may develop his or her skills and personality from their interactions with the world. The Numenera setting provides three base character classes: Glaive (warrior), Nano (wizard) and Jack (rogue). These classes can be further customized with a number of descriptors (such as "Tough" or "Mystical") and foci, which allow the character to excel in a certain role or combat style. Instead of a classic alignment system acting as a character's ethical and moral compass, Torment: Tides of Numenera uses "Tides" to represent the reactions a person inspires in their peers. Each Tide has a specific color and embodies a number of nuanced concepts that are associated with it. The composition of Tides a character has manipulated the most determines their Legacy, which roughly describes the way they have taken in life. Different Legacies may affect what bonuses and powers certain weapons and relics provide, as well as give a character special abilities and enhance certain skills. == Synopsis == === Setting === Tides of Numenera has a science fantasy setting. In the far future (one billion years), the rise and fall of countless civilizations have left Earth in a roughly medieval state, with most of humanity living in simple settlements, surrounded by technological relics of the mysterious past. The current age is called the "Ninth World" by its scholars, who believe that eight great ages existed and were destroyed, disappeared or left the Earth for unknown reasons before the present day, leaving ruins and various oddities and artifacts behind. These artifacts are known as the "numenera" and represent what is left of the science and technology of these past civilizations. Many of them are irreparably broken, but some are still able to function in ways that are beyond the level of understanding of most humans, who believe these objects to be magical in nature. === Characters === Character complexity and dialogue depth were identified among the primary elements of the Planescape: Torment legacy to be preserved and refined by the developers of Torment: Tides of Numenera. The tormented nature of the game's protagonist, the Last Castoff, attracts other, similarly affected people. They will play a significant role in his or her story as friends and companions, or as powerful enemies. The game contains seven companions in total: Aligern, Callistege, Erritis, Matkina, Oom, Tybir, and Rhin. === Plot === The protagonist of the story, known as the Last Castoff, is the final vessel for the consciousness of an ancient man, who managed to find a way to leave his physical body and be reborn in a new one, thus achieving a kind of immortality by means of the relics. The actions of this man, known as the Changing God to some, attracted the enmity of "The Sorrow" (renamed from "The Angel of Entropy" to reduce the potential to imply a religious role), who now seeks to destroy him and his creations. The Last Castoff, being one such "creation", is also targeted by the Sorrow, and must find their master before both are undone. To do so, the protagonist must explore the Ninth World, discovering other castoffs, making friends and enemies along the way. One means of such exploration are the "Meres" – artifacts that let their user gain control over the lives of other castoffs, and experience different worlds or dimensions through them. Through these travels the Last Castoff will leave their mark on the world – their Legacy – and will find an answer to the fundamental question of the story: What does one life matter? While the overall story varies wildly depending on personal preferences and specific interactions, the central storyline follows the Last Castoff as they search for a way to defeat or escape the Sorrow. They explore Sagus Cliffs after falling from a great height into a domed structure, destroying an artifact known as a resonance chamber that is believed to be capable saving the Last Castoff from the Sorrow. Finding another castoff, Matkina, The Last uses a Mere, a repository of memory to locate the entrance to Sanctuary. Using the Mere also alters the past, allowing Matkina to be healed of her mental damage. The Last finds Sanctuary, which the Changing God created as a hiding place from the Sorrow, where the Last finds a number of castoffs who represent both sides of the Eternal War: a conflict between followers of the Changing God, and followers of the First Castoff, who believe the God is selfish and malevolent. The Sorrow breaches Sanctuary after the Last is told that the resonance chamber will "defeat" the Sorrow by destroying every castoff in existence. After escaping the Sorrow through a portal to the Bloom, an apparition appears claiming to be the actual Changing God and attempts to possess the Last by force of will. == Development == In a 2007 interview, designers Chris Avellone and Colin McComb, who had worked on Planescape: Torment, stated that although a direct sequel was not considered because the game's story was over, they were open to the idea of a similar-themed Planescape game if they could gather most of the original development team and find an "understanding set of investors". This combination was deemed infeasible at the time. Talks about creating a sequel with the help of a crowd funding platform resumed in 2012, but attempts to acquire a Planescape license from Wizards of the Coast failed. Later that year, Colin McComb joined inXile, which was at the time working on its successfully crowd funded Wasteland 2 project. The studio gained the rights to the Torment title shortly thereafter. In January 2013, inXile's CEO Brian Fargo announced that the spiritual successor to Planescape: Torment was in pre-production and would be set in the Numenera RPG universe created by Monte Cook. Cook acted as one of the designers of the Planescape setting, and Fargo saw the Numenera setting as the natural place to continue the themes of the previous Torment title. Although the connections to its predecessor will not be relatively overt, due to licensing issues, it was noted that certain traditional RPG elements are relatively hard to copyright, and some elements of Planescape: Torment may make a reappearance. Development of the game began shortly after the acquisition of the Torment license, and various inXile staff will transition over to the Numenera team as production on Wasteland 2 winds down. In late January 2013, inXile confirmed the game's title as Torment: Tides of Numenera, and announced that Planescape: Torment composer Mark Morgan would create the soundtrack. The pre-production period was initially expected to continue until October 2013. During this phase, team composition for the project was to be finalised and development would focus on production planning, game design and dialog writing. With the Wasteland 2 project facing delays in 2014, full production of Torment: Tides of Numenera was rescheduled to a later date. A Kickstarter campaign to crowd fund Torment: Tides of Numenera was launched on March 6, 2013 with a US$900,000 goal. Project director Kevin Saunders explained this choice of a funding source by stating that the traditional publisher-based funding model is flawed

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  • PNGOUT

    PNGOUT

    PNGOUT is a freeware command line optimizer for PNG images written by Ken Silverman. The transformation is lossless, meaning that the resulting image is visually identical to the source image. According to its author, this program can often get higher compression than other optimizers by 5–10%. It is possible to compress some inflated PNGs to a size below 1% of the original file. PNGOUT was also available as a plug-in for the freeware image viewer IrfanView and can be enabled as an option when saving files. It allows editing of various PNGOUT settings via a dialog box. PNGOUT integration was removed in IrfanView version 4.58 in favour of OptiPNG. In 2006, a commercial version of PNGOUT with a graphical user interface, known as PNGOUTWin, was released by Ardfry Imaging, a small company Silverman co-founded in 2005. There is also a freeware GUI frontend to PNGOUT available, known as PNGGauntlet. == Main operation == The main function of PNGOUT is to reduce the size of image data contained in the IDAT chunk. This chunk is compressed using the deflate algorithm. Deflate algorithms can vary in speed and compression ratio, with higher compression ratios generally implying lower speed. Ken Silverman wrote a deflate compressor for PNGOUT that is slower than the ones used in most graphics software, but produces smaller files. PNGOUT also performs automatic bit depth, color, and palette reduction where appropriate.

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  • It's the Most Terrible Time of the Year

    It's the Most Terrible Time of the Year

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

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  • IJCAI Award for Research Excellence

    IJCAI Award for Research Excellence

    The IJCAI Award for Research Excellence is a biannual award before given at the IJCAI conference to researcher in artificial intelligence as a recognition of excellence of their career. Beginning in 2016, the conference is held annually and so is the award. == Laureates == The recipients of this award have been: John McCarthy (1985) Allen Newell (1989) Marvin Minsky (1991) Raymond Reiter (1993) Herbert A. Simon (1995) Aravind Joshi (1997) Judea Pearl (1999) Donald Michie (2001) Nils Nilsson (2003) Geoffrey E. Hinton (2005) Alan Bundy (2007) Victor R. Lesser (2009) Robert Kowalski (2011) Hector Levesque (2013) Barbara Grosz (2015) for her pioneering research in Natural Language Processing and in theories and applications of Multiagent Collaboration. Michael I. Jordan (2016) for his groundbreaking and impactful research in both the theory and application of statistical machine learning. Andrew Barto (2017) for his pioneering work in the theory of reinforcement learning. Jitendra Malik (2018) Yoav Shoham (2019) Eugene Freuder (2020) Richard S. Sutton (2021) Stuart J. Russell (2022) Sarit Kraus (2023) for her pioneering work of the study of interactions among self-interested agents, creating the field of automated negotiation, and developing methods for coalition formation and teamwork, both as formal models and real-world implementations. == Winners of also Turing Award == John McCarthy (1971) Allen Newell (1975) Marvin Minsky (1969) Herbert A. Simon (1975) Judea Pearl (2011) Geoffrey Hinton (2018) Andrew Barto (2024) Richard S. Sutton (2024)

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  • Your AI Slop Bores Me

    Your AI Slop Bores Me

    Your AI Slop Bores Me (stylized in all lowercase) is a website and social experiment created by programmer Mihir Maroju. Serving as a parody of large language models (LLMs) like ChatGPT and Claude, all questions and image prompts posed by users are answered by other, randomly-selected human users of the site. As of March 2026, the site has reached 50 million hits and sits at 16,000 concurrent users. == Background == In an interview with Fast Company, Maroju said he was inspired to create the site by his frustration with AI proliferating the internet with AI generated content, saying the site came from "a frustration for AI art and its proliferation, making artists' lives worse and also just filling the internet with low-effort generic slop". == Overview == The site has a credit system, in which a first-time user will be given 1 credit for free. Every 10 minutes, if a user has 0 credits, they will receive 2 credits. Once the credits are used up, the user can no longer do prompts unless the user earns them. The user can earn credits by responding to other user's prompts by "larping as AI" while given a 75-second time limit. Prompts can either be for a written response, or a drawing for the other user to fulfill the prompt. The maximum amount of credits a user can have is 6 credits, and cannot exceed the maximum limit. If the prompting user activates "thinking mode", the countdown is extended to 150 seconds for the cost of 2 credits. == Reception == The site has garnered attention and praise from X users, and across many online communities. The Daily Dot's Rachel Kiley wrote that "the best part about the game is that there's really no right or wrong way to do it. Humans aren't LLMs trained on copyrighted material and the whole of the free internet, but we do retain a certain amount of the information we've learned from those things over the course of our lives, while also being capable of creativity". Chris Taylor of Mashable called the site "amateurish and charming". Aftermath's Nicole Carpenter wrote that the site reminded her of "the human touch of chaos".

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  • Graphics processing unit

    Graphics processing unit

    A graphics processing unit (GPU) is a specialized electronic circuit designed for digital image processing and to accelerate computer graphics, being present either as a component on a discrete graphics card or embedded on motherboards, mobile phones, personal computers, workstations, and game consoles. GPUs are increasingly being used for artificial intelligence (AI) processing due to linear algebra acceleration, which is also used extensively in graphics processing. Although there is no single definition of the term, and it may be used to describe any video display system, in modern use a GPU includes the ability to internally perform the calculations needed for various graphics tasks, like rotating and scaling 3D images, and often the additional ability to run custom programs known as shaders. This contrasts with earlier graphics controllers known as video display controllers which had no internal calculation capabilities, or blitters, which performed only basic memory movement operations. The modern GPU emerged during the 1990s, adding the ability to perform operations like drawing lines and text without CPU help, and later adding 3D functionality. Graphics functions are generally independent and this lends these tasks to being implemented on separate calculation engines. Modern GPUs include hundreds, or thousands, of calculation units. This made them useful for non-graphic calculations involving embarrassingly parallel problems due to their parallel structure. The ability of GPUs to rapidly perform vast numbers of calculations has led to their adoption in diverse fields including artificial intelligence (AI) where they excel at handling data-intensive and computationally demanding tasks. Other non-graphical uses include the training of neural networks and cryptocurrency mining. == History == === 1960s === Dedicated 3D graphics hardware dates back to graphic terminals such as the Adage AGT-30 from 1967 with analog matrix processors. In 1969 Evans & Sutherland (E&S) introduced the Line Drawing System-1 (LDS-1), which was the first all-digital system to provide matrix multiplication. Also in 1969, the low-cost graphics terminal IMLAC PDS-1 was introduced. It later saw use as an early 3D gaming machine with the likes of Maze War. === 1970s === In professional hardware, in 1972 PLATO IV system becomes operational at the University of Illinois Urbana-Champaign. Between around 1973 and 1978, several networked multiplayer wireframe 3D games are implemented and popularized by users of the system. Also in 1972, the E&S Continuous Tone 1 (CT1) "Watkins box" system (consisting of an E&S LDS-2 and Shaded Picture System) is delivered to Case Western Reserve University. It offered the first real-time Gouraud shading. In 1975, a joint effort between Evans & Sutherland Computer Corporation and the University of Utah's computer graphics department results in the first ever MOSFET video framebuffer, capable of color and smooth shading. E&S Continuous Tone 3 (CT3) system was delivered in 1977 to Lufthansa for pilot training using computer simulation. It was the first graphics system capable of real-time texture mapping. Ikonas made graphics systems with 8- and 24-bit graphics and 3D acceleration in the late 70s. Arcade system boards have used specialized 2D graphics circuits since the 1970s. In early video game hardware, RAM for frame buffers was expensive, so video chips composited data together as the display was being scanned out on the monitor. A specialized barrel shifter circuit helped the CPU animate the framebuffer graphics for various 1970s arcade video games from Midway and Taito, such as Gun Fight (1975), Sea Wolf (1976), and Space Invaders (1978). The Namco Galaxian arcade system in 1979 used specialized graphics hardware that supported RGB color, multi-colored sprites, and tilemap backgrounds. The Galaxian hardware was widely used during the golden age of arcade video games, by game companies such as Namco, Centuri, Gremlin, Irem, Konami, Midway, Nichibutsu, Sega, and Taito. The Atari 2600 in 1977 used a video shifter called the Television Interface Adaptor. Atari 8-bit computers (1979) had ANTIC, a video processor which interpreted instructions describing a "display list"—the way the scan lines map to specific bitmapped or character modes and where the memory is stored (so there did not need to be a contiguous frame buffer). 6502 machine code subroutines could be triggered on scan lines by setting a bit on a display list instruction. ANTIC also supported smooth vertical and horizontal scrolling independent of the CPU. === 1980s === In the 1980s significant advancements were made in professional 3D graphics hardware. Perhaps most impactful was the 1981 development of the Geometry Engine, a VLSI vector processor ASIC designed by Jim Clark and Marc Hannah at Stanford University. This processor is the forerunner of modern tensor cores and other similar processors marketed for graphics and AI. The Geometry Engine went on to be used in Silicon Graphics workstations for many years. Silicon Graphics's first product, shipped in November 1983, was the IRIS 1000, a terminal with hardware-accelerated 3D graphics based on the Geometry Engine. The Geometry Engine was capable of approximately 6 million operations per second. The 1981 NEC μPD7220 was the first implementation of a personal computer graphics display processor as a single large-scale integration (LSI) integrated circuit chip. This enabled the design of low-cost, high-performance video graphics cards such as those from Number Nine Visual Technology. It became the best-known GPU until the mid-1980s. It was the first fully integrated VLSI (very large-scale integration) metal–oxide–semiconductor (NMOS) graphics display processor for PCs, supported up to 1024×1024 resolution, and laid the foundations for the PC graphics market. It was used in a number of graphics cards and was licensed for clones such as the Intel 82720, the first of Intel's graphics processing units. The Williams Electronics arcade games Robotron: 2084, Joust, Sinistar, and Bubbles, all released in 1982, contain custom blitter chips for operating on 16-color bitmaps. In 1984, Hitachi released the ARTC HD63484, the first major CMOS graphics processor for personal computers. The ARTC could display up to 4K resolution when in monochrome mode. It was used in a number of graphics cards and terminals during the late 1980s. In 1985, the Amiga was released with a custom graphics chip called Agnus including a blitter for bitmap manipulation, line drawing, and area fill. It also included a coprocessor with its own simple instruction set, that was capable of manipulating graphics hardware registers in sync with the video beam (e.g. for per-scanline palette switches, sprite multiplexing, and hardware windowing), or driving the blitter. Also in 1985, IBM released the Professional Graphics Controller, designed by later to be Nvidia co-founder Curtis Priem, which was a rudimentary 3D card with 640 × 480 256-color graphics which used a dedicated CPU to draw graphics independently of the main system. It was used as the basis of cards by a number of makers (including Matrox) and its analog RGB signaling led directly to the VGA video standard. Priem later in the 80s worked on the influential Sun Microsystems GX (also known as cgsix) accelerated 2D graphics card. In 1986, Texas Instruments released the TMS34010, the first fully programmable graphics processor. It could run general-purpose code but also had a graphics-oriented instruction set. During 1990–1992, this chip became the basis of the Texas Instruments Graphics Architecture ("TIGA") Windows accelerator cards. Following in 1987, the IBM 8514 graphics system was released. It was one of the first video cards for IBM PC compatibles that implemented fixed-function 2D primitives in electronic hardware. Sharp's X68000, released in 1987, used a custom graphics chipset with a 65,536 color palette and hardware support for sprites, scrolling, and multiple playfields. It served as a development machine for Capcom's CP System arcade board. Fujitsu's FM Towns computer, released in 1989, had support for a 16,777,216 color palette. For context, IBM also introduced its Video Graphics Array (VGA) display system in 1987, with a maximum resolution of 640 × 480 pixels. Unlike 8514/A, VGA had no hardware acceleration features. In November 1988, NEC Home Electronics announced its creation of the Video Electronics Standards Association (VESA) to develop and promote a Super VGA (SVGA) computer display standard as a successor to VGA. Super VGA enabled graphics display resolutions up to 800 × 600 pixels, a 56% increase. In 1988 SGI sold IRIS workstation graphics with 10-12 Geometry Engines and introduced the IrisVision add-in board for IBM MicroChannel bus (RS/6000) based on the Geometry Engine as well. In 1988 as well, the first dedicated polygonal 3D graphics boards in arcade machines were introduced wit

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  • SmartAction

    SmartAction

    SmartAction Company LLC is a U.S.-based software company that develops artificial intelligence–driven virtual agents for customer service applications, including voice-based interactive voice response (IVR) systems, chat, and SMS. The company was founded in 2009 by inventor and entrepreneur Peter Voss and is headquartered in Fort Worth, Texas. == History == In 2001, Peter Voss founded Adaptive AI, Inc., a research and development company focused on artificial intelligence concepts. In 2009, Voss founded SmartAction Company, LLC to commercialize customer-service automation software derived from this work. The company’s initial products focused on automating inbound and outbound calls for contact center environments. In November 2022, Kyle Johnson was appointed chief executive officer, succeeding Gary Davis, who had served as CEO since 2020. In 2024, SmartAction was acquired by Capacity, an AI-powered customer support automation company based in St. Louis, Missouri. == Technology == SmartAction develops cloud-based voice automation software that integrates speech recognition and natural language processing to support automated customer interactions in contact center environments. The platform supports automated handling of common customer service tasks and is designed to integrate with enterprise systems.

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  • 17776

    17776

    17776 (also known as What Football Will Look Like in the Future) is a serialized speculative fiction multimedia narrative by Jon Bois, published online through SB Nation. Set in the distant future in which all humans have become immortal and infertile, the series follows three sapient space probes that watch humanity play an evolved form of American football in which games can be played for millennia over distances of thousands of miles. The series debuted on July 5, 2017, and new chapters were published daily until the series concluded with its twenty-fifth chapter on July 15, 2017. Bois began developing 17776 in 2016. Because the story incorporates text, animated GIFs, still images, and videos hosted on YouTube, new tools were developed to allow it to be hosted efficiently on the SB Nation website. The work explores themes of consciousness, hope, despair, and why humans play sports. 17776 was well received by critics, who praised it for its innovative use of its medium and for the depth of emotion it evoked. In 2018, the story won a National Magazine Award for Digital Innovation and was longlisted for both the Hugo Awards for Best Novella and Best Graphic Story. It is followed by a sequel series: 20020, released from September to October 2020. The sequel series follows a 111-team game of college football on fields spanning 130,000 miles (210,000 km) across the United States. Bois originally intended to follow up with a further series entitled 20021; however, it was postponed indefinitely. In May 2025, Bois announced that the series would be continued with a novel titled 50007: An American Football Odyssey. == Premise == The story takes place on a future Earth where humans stopped dying, aging, and being born on April 7, 2026. All social ills were subsequently eliminated, and technology preventing humans from any injury was developed. In the United States, American football evolved to include new rules, including those that allow fields thousands of miles long, hundreds of in-game players, and games millennia long. Over time, computers gained sentience due to constant exposure to broadcast human data. By the year 17776, the space probe Pioneer 9 (called Nine) has gained sentience and made contact with Pioneer 10 (called Ten) and the Jupiter Icy Moons Explorer (called Juice). As Nine adjusts to a world radically different from that of the 20th century, the three space probes watch multiple football games occurring across the United States: a game using the entirety of Nebraska as a field in which the next point scored wins the game; a game in which players strive to possess every existing football autographed by obscure NFL player Koy Detmer; a game played between the Canadian border and the Mexican border deadlocked for 13,000 years at the bottom of a gorge in Arizona; an NFL regulation game between the Denver Broncos and the Pittsburgh Steelers that changed over 15,000 years into 58 playing teams owning and capitalizing upon portions of Sports Authority Field at Mile High while the ball is lost; a 500 game that results in the destruction of the Centennial Light; and a game in which the possessing player is attempting to score an automatic win by hiding in his team's end zone for 10,000 years. == Format == 17776 is read by scrolling through web pages occupied by large GIF images and colored dialogue text, interspersed with occasional YouTube videos. The story is divided into chapters, which were originally published in daily installments between July 5 and 15, 2017. Much of the GIF and video content of the series uses Google Earth satellite imagery, 3D buildings, and other tools within Google Earth to create animations and visual effects. == Development == Bois wrote and illustrated 17776 for Vox Media's sports news website SB Nation, of which he is creative director. Aside from 17776, Bois produces two other recurring, humorous video essay programs for the site: Pretty Good, which focuses on unusual sports topics and stories, and Chart Party, which focuses on statistics and has an emphasis on Bois' use of visual art in his journalism and storytelling. Bois is also known for the Breaking Madden series, in which he attempted unusual scenarios in the Madden NFL series of video games. In early 2016, Bois began developing an "anti-sci fi" project as a possible sequel to The Tim Tebow CFL Chronicles, an earlier work for SB Nation, and set the story in a year far enough in the future that "nobody ever thinks about it." Although he liked the concept and the visuals, he believed the project would not connect with readers and shelved it. Later, he realized that the story needed a centering character; he wrote one in the form of a small town, AM radio talk show host before coming up with the characters of the probes. Development renewed in May 2016, and the project solidified after SB Nation published its article "The Future of Football." Bois described it as the biggest project he ever attempted. The series was developed by Graham MacAree, who used a Vox Media tool that creates custom packages from standard article sets to give Bois creative leeway and to accommodate the series' weight on the SB Nation website. MacAree found that there were few resources online for achieving the desired effects. == Themes == Bois has stated that he had "conceived [17776] to give the reader a good time," asserting that this "was literally the whole point." William Hughes writing for The A.V. Club described 17776 as concerned with why humans play sports: "That is, given the massive resources, time, and information at our disposal (not to mention those available to our descendants), why does communal game-playing still hold such an important place in society?" He also listed consciousness, hope, and despair as among the work's themes. Beth Elderkin of io9 described it as "a deep thought experiment into what we consider humanly possible". She also felt that Ten and Juice take on the role of angel and devil, and she suggested the two may be unreliable narrators. Ian Crouch of The New Yorker felt that the work had a "tonal echo" of Don DeLillo's 1972 novel End Zone due to thematic similarities "with the way that the order and logic of football might act as a counterbalance to the chaos of the real world". == Reception == According to the communications director at Vox Media, 17776 garnered over 2.3 million pageviews by July 10. Two days later, it had received more than 2.9 million pageviews. Average engagement time was over nine minutes, and 43 percent of readers finished each installment of the series published by July 7. On July 19, Bois claimed that 17776 received 700,000 unique visitors and 4 million total pageviews, with an average engagement time of 11 minutes. Thu-Huong Ha for Quartz described 17776 as "part Italo Calvino, part Peter Heller [author of The Dog Stars], with humor seemingly from within the depths of Reddit," saying that the story would appeal to fans of both sports and literature. Tor.com described the first chapter as full of tension and felt that receiving answers is a "surprisingly heartbreaking" experience "lessened by a gleeful bouncing immaturity" one would not expect from the characters. Beth Elderkin at io9 said the series is "akin to Homestuck" and described it as "weird, complex, and pretty spectacular". William Hughes writing for The A.V. Club felt that 17776 is a "truly innovative piece of work". After reading the first three chapters, Agatha French of the Los Angeles Times stated that she was "impressed and excited by the innovation" of what she saw, and that she was intrigued despite not knowing what the work is or is saying. She felt the work took full advantage of its online medium and suggested that it "may also be a glimpse into the future of reading on the Internet". Ian Crouch of The New Yorker described the series as, "despite its seemingly meagre parts, a thing of startling beauty". Of the chapters published by July 12, he felt "the most striking chapter" to be one that used audio of Verne Lundquist calling the end of a 2013 game between the University of Alabama and Auburn University over a video panning over Earth. He also noted that the series was compared to Homestuck and relayed additional comparisons to Thomas Pynchon novels and "a Reddit thread hijacked by robot trolls". The series won the inaugural National Magazine Award for Digital Innovation from the American Society of Magazine Editors; this was the first National Magazine Award nomination and win for SB Nation. It was described by the judges as "an extraordinary combination of art, fiction and technology, an online acid trip that had to be experienced to be believed." It was also longlisted for the Hugo Awards for Best Novella and Best Graphic Story in 2018, ultimately finishing in 11th place in both categories. == Sequel series == On September 28, 2020, a sequel titled 20020 was launched on Secret Base, a branch of SB Nation; on October 13, it was revea

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