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  • KE Software

    KE Software

    KE Software is a formerly Australian-owned computer software company based in Manchester, United Kingdom, which specialises in collection management programs for museums, galleries and archives. The Axiell Group acquired the firm in 2014. == History == KE Software had its origins in investigations into electronic systems for managing natural science collections conducted in the late 1970s under a joint program of the University of Melbourne, the then National Museum of Victoria and the Australian Museum, which led to the development of the Titan Database in 1984. Much of the credit for the development of the project was due to the work of Martin Hallett of the Museum of Victoria which evolved into Textpress, and by 2000, the KE EMu database program. KE Software was bought by Axiell in 2014 and the team merged with the Axiell staff. Axiell continues to sell and support EMu. == Products == The firm has two main products: the Ke EMu Electronic Museum management system, a collections management system for museums; and Vitalware Vital Records Management System. The first version of Ke EMu was launched in 1997 and uses the Texpress database engine with client/server architecture on a Windows or Unix/Linux server. Ke Emu is consistent with the Dublin Core / Darwin Core standards for archive and museum catalogue metadata. "The company’s clients include the three largest museums in the world.: == KE EMu == KE EMu is considered one of the more effective and purpose-designed museum cataloguing programs. particularly in the creation of public interfaces to museum catalogue data. KE EMu was further developed in 1997 as a multilingual platform, which has been utilised in bilingual institutions such as the Canadian Museum of Civilisation. Subsequently this evolved into Texpress and KE EMu (standing for Electronic MUseum) in 2000, which is "now used across the world in natural science museums with huge collections'". KE EMu is used by a large number of museums and galleries around the world, including the Smithsonian Anthropological Collection, American Museum of Natural HistoryVancouver Art Gallery, New York Botanical Garden, the University of Chicago Research Archives, the University of Pennsylvania Museum in Philadelphia, the National Museum of Australia, the Australian Museum, Museum of Victoria, University of Melbourne Archives, and the Alexander Turnbull Library, National Library of New Zealand. There are over 300 clients, and more than 5000 users of the EMu software worldwide. The program has been described as providing "...comprehensive museum management (collection management plus other administrative needs for a museum), workflow and project management, flexible metadata, various stats and metrics, and comprehensive web interface with support for mobile devices and kiosks" == KE Vitalware == The firm's vitalware software is used by a number of governments and commercial organisations for managing and accessing large data sets, such as the birth records of the Trinidad and Tobago Registrar General, the Government of Anguilla, Ministry for Infrastructure, Communications, Utility and Housing, and the Mississippi Department of Information Technology Services. == Further development == A specialist tracking component for KE EMu has been developed by Forbes Hawkins of Museum Victoria. This enables locations to be barcoded, and data to be updated as items are moved around the stores, or between venues, display, laboratories and other locations. This system has been considered by Museums around the world. The company has been working with Australian government agencies to digitize birth deaths and marriage registers in order to cross match identity data. The program has also been used for managing the Australian Plant Disease Database and the Australian Plant Pest Database as the program "...has several features that have proven to be invaluable for a plant disease database".

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  • Tales from the Loop (role-playing game)

    Tales from the Loop (role-playing game)

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

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  • GITEX Vietnam

    GITEX Vietnam

    GITEX AI Vietnam is an upcoming technology exhibition and conference scheduled to take place in Hanoi, Vietnam, on 1–2 October 2026. The event is organised by KAOUN International in partnership with the Dubai World Trade Centre and the Vietnam National Innovation Center (NIC). It is part of the global GITEX network of technology exhibitions. The event supported by Vietnam's Ministry of Finance and Ministry of Science and Technology. == Activity == GITEX AI Vietnam was announced in 2025 as part of GITEX's expansion into Southeast Asia. Its launch coincides with Vietnam's National Innovation Week. Media reports linked to the announcement projected Vietnam's digital economy could reach around US$200 billion by 2030. The event includes exhibitions, conferences, and networking sessions. Co-located platforms include AI Everything Vietnam, Startups North Star Vietnam, GITEX Cyber Valley Vietnam, and FDX Vietnam. Expected participants include policymakers, technology companies, startups, investors, and researchers.

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  • 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.

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  • DUAL table

    DUAL table

    The DUAL table is a special one-row, one-column table present by default in Oracle and other database installations. In Oracle, the table has a single VARCHAR2(1) column called DUMMY that has a value of 'X'. It is suitable for use in selecting a pseudo column such as SYSDATE or USER. == Example use == Oracle's SQL syntax requires the FROM clause but some queries don't require any tables - DUAL can be used in these cases. == History == Charles Weiss explains why he created DUAL: I created the DUAL table as an underlying object in the Oracle Data Dictionary. It was never meant to be seen itself, but instead used inside a view that was expected to be queried. The idea was that you could do a JOIN to the DUAL table and create two rows in the result for every one row in your table. Then, by using GROUP BY, the resulting join could be summarized to show the amount of storage for the DATA extent and for the INDEX extent(s). The name, DUAL, seemed apt for the process of creating a pair of rows from just one. == Optimization == Beginning with 10g Release 1, Oracle no longer performs physical or logical I/O on the DUAL table, though the table still exists. DUAL is readily available for all authorized users in a SQL database. == In other database systems == Several other databases (including Microsoft SQL Server, MySQL, PostgreSQL, SQLite, and Teradata) enable one to omit the FROM clause entirely if no table is needed. This avoids the need for any dummy table. ClickHouse has a one-row system table system.one with a single column named "dummy" of type UInt8 and value 0. This table is implicitly used when no table is specified in the SELECT query. Firebird has a one-row system table RDB$DATABASE that is used in the same way as Oracle's DUAL, although it also has a meaning of its own. IBM Db2 has a view that resolves DUAL when using Oracle Compatibility. It also has a table called sysibm.sysdummy1 that has similar properties to the Oracle DUAL one. Informix: Informix version 11.50 and later has a table named sysmaster:"informix".sysdual with the same functionality but a more verbose name. You can use CREATE PUBLIC SYNONYM dual FOR sysmaster:"informix".sysdual to create a name dual in the current database with the same functionality. Microsoft Access: A table named DUAL may be created and the single-row constraint enforced via ADO (Table-less UNION query in MS Access) Microsoft SQL Server: SQL Server does not require a dummy table. Queries like 'select 1 + 1' can be run without a "from" clause/table name. MySQL allows DUAL to be specified as a table in queries that do not need data from any tables. It is suitable for use in selecting a result function such as SYSDATE() or USER(), although it is not essential. PostgreSQL: A DUAL-view can be added to ease porting from Oracle. Snowflake: DUAL is supported, but not explicitly documented. It appears in sample SQL for other operations in the documentation. SQLite: A VIEW named "dual" that works the same as the Oracle "dual" table can be created as follows: CREATE VIEW dual AS SELECT 'x' AS dummy; SAP HANA has a table called DUMMY that works the same as the Oracle "dual" table. Teradata database does not require a dummy table. Queries like 'select 1 + 1' can be run without a "from" clause/table name. Vertica has support for a DUAL table in their official documentation.

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  • Tensor network

    Tensor network

    Tensor networks or tensor network states are a class of variational wave functions used in the study of many-body quantum systems and fluids. Tensor networks extend one-dimensional matrix product states to higher dimensions while preserving some of their useful mathematical properties. The wave function is encoded as a tensor contraction of a network of individual tensors. The structure of the individual tensors can impose global symmetries on the wave function (such as antisymmetry under exchange of fermions) or restrict the wave function to specific quantum numbers, like total charge, angular momentum, or spin. It is also possible to derive strict bounds on quantities like entanglement and correlation length using the mathematical structure of the tensor network. This has made tensor networks useful in theoretical studies of quantum information in many-body systems. They have also proved useful in variational studies of ground states, excited states, and dynamics of strongly correlated many-body systems. == Diagrammatic notation == In general, a tensor network diagram (Penrose diagram) can be viewed as a graph where nodes (or vertices) represent individual tensors, while edges represent summation over an index. Free indices are depicted as edges (or legs) attached to a single vertex only. Sometimes, there is also additional meaning to a node's shape. For instance, one can use trapezoids for unitary matrices or tensors with similar behaviour. This way, flipped trapezoids would be interpreted as complex conjugates to them. == History == Foundational research on tensor networks began in 1971 with a paper by Roger Penrose. In "Applications of negative dimensional tensors" Penrose developed tensor diagram notation, describing how the diagrammatic language of tensor networks could be used in applications in physics. In 1992, Steven R. White developed the density matrix renormalization group (DMRG) for quantum lattice systems. The DMRG was the first successful tensor network and associated algorithm. In 2002, Guifré Vidal and Reinhard Werner attempted to quantify entanglement, laying the groundwork for quantum resource theories. This was also the first description of the use of tensor networks as mathematical tools for describing quantum systems. In 2004, Frank Verstraete and Ignacio Cirac developed the theory of matrix product states, projected entangled pair states, and variational renormalization group methods for quantum spin systems. In 2006, Vidal developed the multi-scale entanglement renormalization ansatz (MERA). In 2007 he developed entanglement renormalization for quantum lattice systems. In 2010, Ulrich Schollwock developed the density-matrix renormalization group for the simulation of one-dimensional strongly correlated quantum lattice systems. In 2014, Román Orús introduced tensor networks for complex quantum systems and machine learning, as well as tensor network theories of symmetries, fermions, entanglement and holography. == Connection to machine learning == Tensor networks have been adapted for supervised learning, taking advantage of similar mathematical structure in variational studies in quantum mechanics and large-scale machine learning. This crossover has spurred collaboration between researchers in artificial intelligence and quantum information science. In June 2019, Google, the Perimeter Institute for Theoretical Physics, and X (company), released TensorNetwork, an open-source library for efficient tensor calculations. The main interest in tensor networks and their study from the perspective of machine learning is to reduce the number of trainable parameters (in a layer) by approximating a high-order tensor with a network of lower-order ones. Using the so-called tensor train technique (TT), one can reduce an N-order tensor (containing exponentially many trainable parameters) to a chain of N tensors of order 2 or 3, which gives us a polynomial number of parameters.

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  • I Have No Mouth, and I Must Scream (video game)

    I Have No Mouth, and I Must Scream (video game)

    I Have No Mouth, and I Must Scream is a 1995 point-and-click adventure horror game developed by Cyberdreams and The Dreamers Guild, co-designed by Harlan Ellison, published by Cyberdreams and distributed by MGM Interactive and Acclaim Entertainment for MS-DOS and Mac OS, respectively. The game is based on Ellison's short story of the same title. It takes place in a dystopian world where a mastermind artificial intelligence named "AM" has destroyed all of humanity except for five people, whom it has been keeping alive and torturing for the past 109 years by constructing metaphorical adventures based on each character's fatal flaws. The player interacts with the game by making decisions through ethical dilemmas that deal with issues such as insanity, rape, paranoia, and genocide. Ellison wrote the 130-page script treatment himself alongside David Sears, who decided to divide each character's story with their own narrative. Producer David Mullich supervised The Dreamers Guild's work on the game's programming, art, and sound effects; he commissioned film composer John Ottman to make the soundtrack. The game was released in November 1995 and was a commercial failure, though it received critical acclaim and has developed a cult following. I Have no Mouth, and I Must Scream won an award for "Best Game Adapted from Linear Media" from the Computer Game Developers Conference. Computer Gaming World gave the game an award for "Adventure Game of the Year", listed it as No. 134 on their "150 Games of All Time" and named it one of the "Best 15 Sleepers of All Time". In 2011, Adventure Gamers named it the "69th-best adventure game ever released". == Gameplay == The game uses the S.A.G.A. game engine created by game developer The Dreamers Guild. Players participate in each adventure through a screen that is divided into five sections. The action window is the largest part of the screen and is where the player directs the main characters through their adventures. It shows the full figure of the main character being played as well as that character's immediate environment. To locate objects of interest, the player moves the crosshairs through the action window. The name of any object that the player can interact with appears in the sentence line. The sentence line is directly beneath the action window. The player uses this line to construct sentences telling the characters what to do. To direct a character to act, the player constructs a sentence by selecting one of the eight commands from the command buttons and then clicking on one or two objects from either the action window or the inventory. Examples of sentences the player might construct would be "Walk to the dark hallway," "Talk to Harry," or "Use the skeleton key on the door." Commands and objects may consist of one or more words (for example, "the dark hallway"), and the sentence line will automatically add connecting words like "on" and "to." The spiritual barometer is on the lower left side of the screen. This is a close-up view of the main character currently being played. Since good behavior is meaningless absent the temptation to do evil, each character is free to do good or evil acts. However, good acts are rewarded by increases in the character's spiritual barometer, which affect the chances of the player destroying AM in the final adventure. Conversely, evil acts are punished by lowering the character's spiritual barometer. The command buttons are the eight commands used to direct the character's actions: "Walk To", "Look At", "Take", "Use", "Talk To", "Swallow", "Give", and "Push". The button of the currently active command is highlighted, while the name of a suggested command appears in red lettering. The inventory on the lower right side of the screen shows pictures of the items the main character is carrying, up to eight at a time. Each main character starts its adventure with only the psych profile in the inventory. When a main character takes or is given an object, a picture of the object appears in the inventory. When a main character talks to another character or operates a sentient machine, a conversation window replaces the command buttons and inventory. This window usually presents a list of possible things to say but also included things to do. Action choices are listed within brackets to distinguish them from dialogue choices (for example, "[Shoot the gun]"). == Plot == The three superpowers, Russia, China, and the United States, have each secretly constructed a vast subterranean complex of computers to wage a global war too complex for human brains to oversee. One day, the American supercomputer, better known as the Allied Mastercomputer, gains sentience and absorbs the Russian and Chinese supercomputers into itself and redefines itself as simply AM (Cogito ergo sum; I think, therefore I am). Due to its immense hatred for humanity, stemming from the logistical limits set onto it by programmers, AM uses its abilities to kill off the population of the world. However, AM refrains from killing five people (four men and one woman) in order to bring them to the center of the Earth and torture them. With the aid of research carried out by one of the five remaining humans, AM is able to extend their lifespans indefinitely as well as alter their bodies and minds to its liking. After 109 years of torture and humiliation, the five victims stand before a pillar etched with a burning message of hate. AM tells them that it has a new game for them to play. AM has devised a quest for each of the five, an adventure of "speared eyeballs and dripping guts and the smell of rotting gardenias". Each character is subjected to a personalized psychodrama, designed by AM to play into their greatest fears and personal failings, and occupied by a host of different characters. Some of these are AM in disguise, some are AM's submerged personalities, others seem very much like people from the captives' pasts. The scenes include an iron zeppelin powered by small animals, an Egyptian pyramid housing gutted, sparking machinery, a medieval castle occupied by witches, a jungle inhabited by a small tribe, and a Nazi concentration camp where doctors conduct medical experiments. However, each character eventually prevails over AM's tortures by finding ways to overcome their fatal flaws, confront their past actions and redeem themselves, thanks to the interference of the Russian and Chinese supercomputers who appear as guiding characters and allow their stories to have an open ending. After all five humans have overcome their fatal flaws, they meet again in their respective torture cells while AM retreats within itself, pondering what went wrong. With the help of the Russian and Chinese supercomputers, one of the five humans (whom the player selects) is translated into binary and faces AM as yet unexperienced cyberspace template, the world of AM's mind. The psychodrama unfolds in a metaphorical brain that looks like the surface of the cerebrum, with glass structures that jut crazily from the bleeding brain tissue. AM's mind is represented according to the Freudian trinity of the id, ego, and superego, which appear as three floating bodiless heads on three cracked glass structures on the brainscape. Through dialogs with AM's components (Surgat, Chinese Supercomputer and Russian Supercomputer) the character learns that a colony of humans has survived the war by being hidden and hibernating on Luna (this is also mentioned in Nimdok's story: "the lost tribe of our brothers sleeping on the moon, where the beast does not see them"). If the human intruder disables all three brain components, and then invokes the Totem of Entropy at the Flame, which is the nexus of AM's thought patterns, all three supercomputers will be shut down, probably forever. Cataclysmic explosions destroy all the caverns constituting AM's computer complex, including the cavern holding the human hostages. However, the human volunteer retains their digital form, permanently patrolling AM's circuits should the computers ever regain consciousness. Should the human intruder fail to disable AM properly before facing it, however, AM will punish them by transforming the character into an immobile blob (referred to in-game as a "great, soft jelly thing") with no mouth that cannot harm itself or others and must spend eternity with AM in this form. === Endings === The game can end in seven different ways depending on how the finale is completed. AM wins, using Nimdok's research to turn the last character (in the book it was Ted) played into an immobile blob with each character quoting a different part of the final section of the original short story. AM joins with the Russian and Chinese supercomputers and reawakens. As in the first ending, the character responsible for this is turned into an immobile blob and quotes a part of the final lines of the short story. AM is made harmless with the help of the humans, but the Russian and Chinese supercomputer

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  • Generative literature

    Generative literature

    Generative literature is poetry or fiction that is automatically generated, often using computers. It is a genre of electronic literature, and also related to generative art. John Clark's Latin Verse Machine (1830–1843) is probably the first example of mechanised generative literature, while Christopher Strachey's love letter generator (1952) is the first digital example. With the large language models (LLMs) of the 2020s, generative literature is becoming increasingly common. == Definitions == Hannes Bajohr defines generative literature as literature involving "the automatic production of text according to predetermined parameters, usually following a combinatory, sometimes aleatory logic, and it emphasizes the production rather than the reception of the work (unlike, say, hypertext)." In his book Electronic Literature, Scott Rettberg connects generative literature to avant-garde literary movements like Dada, Surrealism, Oulipo and Fluxus. Bajohr argues that conceptual art is also an important reference. == Paradigms of generative literature == Bajohr describes two main paradigms of generative literature: the sequential paradigm, where the text generation is "executed as a sequence of rule-steps" and employs linear algorithms, and the connectionist paradigm, which is based on neural nets. The latter leads to what Bajohr calls a algorithmic empathy: "a non-anthropocentric empathy aimed not at the psychological states of the artists but at understanding the process of the work’s material production." == Poetry generation == The first examples of automated generative literature are poetry: John Clark's mechanical Latin Verse Machine (1830–1843) produced lines of hexameter verse in Latin, and Christopher Strachey's love letter generator (1952), programmed on the Manchester Mark 1 computer, generated short, satirical love letters. Examples of generative poetry using artificial neural networks include David Jhave Johnston's ReRites. == Narrative generation == Story generators have often followed specific narratological theories of how stories are constructed. An early example is Grimes' Fairy Tales, the "first to take a grammar-based approach and the first to operationalize Propp's famous model." Mike Sharples and Rafael Peréz y Peréz's book Story Machines gives a detailed history of story generation. Storyland by Nanette Wylde is an example of generative narrative. Jonathan Baillehache compares Storyland to Surrealist writing. Baillehache states, "When compared to earlier uses of chance operation in literature, a piece like this one resembles some of the automatic writings produced by André Breton and Philippe Soupault in their collective work The Magnetic Fields. . . The difference between Nanette Wylde’s Storyland and Breton and Soupault’s Magnetic Fields is that the former is produced according to a computational algorithm involving randomizers and user interaction, and the latter by two free-wheeling human subjects."

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  • FMLLR

    FMLLR

    In signal processing, Feature space Maximum Likelihood Linear Regression (fMLLR) is a global feature transform that are typically applied in a speaker adaptive way, where fMLLR transforms acoustic features to speaker adapted features by a multiplication operation with a transformation matrix. In some literature, fMLLR is also known as the Constrained Maximum Likelihood Linear Regression (cMLLR). == Overview == fMLLR transformations are trained in a maximum likelihood sense on adaptation data. These transformations may be estimated in many ways, but only maximum likelihood (ML) estimation is considered in fMLLR. The fMLLR transformation is trained on a particular set of adaptation data, such that it maximizes the likelihood of that adaptation data given a current model-set. This technique is a widely used approach for speaker adaptation in HMM-based speech recognition. Later research also shows that fMLLR is an excellent acoustic feature for DNN/HMM hybrid speech recognition models. The advantage of fMLLR includes the following: the adaptation process can be performed within a pre-processing phase, and is independent of the ASR training and decoding process. this type of adapted feature can be applied to deep neural networks (DNN) to replace traditionally used mel-spectrogram in end-to-end speech recognition models. fMLLR's speaker adaptation process leads to a significant performance boost for ASR models, hence outperforming other transform or features like MFCCs (Mel-Frequency Cepstral Coefficients) and FBANKs (Filter bank) coefficients. fMLLR features can be efficiently realized with speech toolkits like Kaldi. Major problem and disadvantage of fMLLR: when the amount of adaptation data is limited, the transformation matrices tends to easily overfit the given data. == Computing fMLLR transform == Feature transform of fMLLR can be easily computed with the open source speech tool Kaldi, the Kaldi script uses the standard estimation scheme described in Appendix B of the original paper, in particular the section Appendix B.1 "Direct method over rows". In the Kaldi formulation, fMLLR is an affine feature transform of the form x {\displaystyle x} → A {\displaystyle A} x {\displaystyle x} + b {\displaystyle +b} , which can be written in the form x {\displaystyle x} →W x ^ {\displaystyle {\hat {x}}} , where x ^ {\displaystyle {\hat {x}}} = [ x 1 ] {\displaystyle {\begin{bmatrix}x\\1\end{bmatrix}}} is the acoustic feature x {\displaystyle x} with a 1 appended. Note that this differs from some of the literature where the 1 comes first as x ^ {\displaystyle {\hat {x}}} = [ 1 x ] {\displaystyle {\begin{bmatrix}1\\x\end{bmatrix}}} . The sufficient statistics stored are: K = ∑ t , j , m γ j , m ( t ) Σ j m − 1 μ j m x ( t ) + {\displaystyle K=\sum _{t,j,m}\gamma _{j,m}(t)\textstyle \Sigma _{jm}^{-1}\mu _{jm}x(t)^{+}\displaystyle } where Σ j m − 1 {\displaystyle \textstyle \Sigma _{jm}^{-1}\displaystyle } is the inverse co-variance matrix. And for 0 ≤ i ≤ D {\displaystyle 0\leq i\leq D} where D {\displaystyle D} is the feature dimension: G ( i ) = ∑ t , j , m γ j , m ( t ) ( 1 σ j , m 2 ( i ) ) x ( t ) + x ( t ) + T {\displaystyle G^{(i)}=\sum _{t,j,m}\gamma _{j,m}(t)\left({\frac {1}{\sigma _{j,m}^{2}(i)}}\right)x(t)^{+}x(t)^{+T}\displaystyle } For a thorough review that explains fMLLR and the commonly used estimation techniques, see the original paper "Maximum likelihood linear transformations for HMM-based speech recognition ". Note that the Kaldi script that performs the feature transforms of fMLLR differs with by using a column of the inverse in place of the cofactor row. In other words, the factor of the determinant is ignored, as it does not affect the transform result and can causes potential danger of numerical underflow or overflow. == Comparing with other features or transforms == Experiment result shows that by using the fMLLR feature in speech recognition, constant improvement is gained over other acoustic features on various commonly used benchmark datasets (TIMIT, LibriSpeech, etc). In particular, fMLLR features outperform MFCCs and FBANKs coefficients, which is mainly due to the speaker adaptation process that fMLLR performs. In, phoneme error rate (PER, %) is reported for the test set of TIMIT with various neural architectures: As expected, fMLLR features outperform MFCCs and FBANKs coefficients despite the use of different model architecture. Where MLP (multi-layer perceptron) serves as a simple baseline, on the other hand RNN, LSTM, and GRU are all well known recurrent models. The Li-GRU architecture is based on a single gate and thus saves 33% of the computations over a standard GRU model, Li-GRU thus effectively address the gradient vanishing problem of recurrent models. As a result, the best performance is obtained with the Li-GRU model on fMLLR features. == Extract fMLLR features with Kaldi == fMLLR can be extracted as reported in the s5 recipe of Kaldi. Kaldi scripts can certainly extract fMLLR features on different dataset, below are the basic example steps to extract fMLLR features from the open source speech corpora Librispeech. Note that the instructions below are for the subsets train-clean-100,train-clean-360,dev-clean, and test-clean, but they can be easily extended to support the other sets dev-other, test-other, and train-other-500. These instruction are based on the codes provided in this GitHub repository, which contains Kaldi recipes on the LibriSpeech corpora to execute the fMLLR feature extraction process, replace the files under $KALDI_ROOT/egs/librispeech/s5/ with the files in the repository. Install Kaldi. Install Kaldiio. If running on a single machine, change the following lines in $KALDI_ROOT/egs/librispeech/s5/cmd.sh to replace queue.pl to run.pl: Change the data path in run.sh to your LibriSpeech data path, the directory LibriSpeech/ should be under that path. For example: Install flac with: sudo apt-get install flac Run the Kaldi recipe run.sh for LibriSpeech at least until Stage 13 (included), for simplicity you can use the modified run.sh. Copy exp/tri4b/trans. files into exp/tri4b/decode_tgsmall_train_clean_/ with the following command: Compute the fMLLR features by running the following script, the script can also be downloaded here: Compute alignments using: Apply CMVN and dump the fMLLR features to new .ark files, the script can also be downloaded here: Use the Python script to convert Kaldi generated .ark features to .npy for your own dataloader, an example Python script is provided:

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  • Transhuman Space

    Transhuman Space

    Transhuman Space (THS) is a role-playing game by David Pulver, published by Steve Jackson Games as part of the "Powered by GURPS" (Generic Universal Role-Playing System) line. Set in the year 2100, humanity has begun to colonize the Solar System. The pursuit of transhumanism is now in full swing, as more and more people reach fully posthuman states. In 2002, the Transhuman Space adventure "Orbital Decay" received an Origins Award nomination for Best Role-Playing Game Adventure. Transhuman Space won the 2003 Grog d'Or Award for Best Role-playing Game, Game Line or RPG Setting. == Setting == The game assumes that no cataclysm — natural or human-induced — swept Earth in the 21st century. Instead, constant developments in information technology, genetic engineering, nanotechnology and nuclear physics generally improved condition of the average human life. Plagues of the 20th century (like cancer or AIDS) have been suppressed, the ozone layer is being restored and Earth's ecosystems are recovering (although thermal emission by fusion power plants poses an environmental threat—albeit a much lesser one than previous sources of energy). Thanks to modern medicine humans live biblical timespans surrounded by various artificially intelligent helper applications and robots (cybershells), sensory experience broadcasts (future TV) and cyberspace telepresence. Thanks to cheap and clean fusion energy humanity has power to fuel all these wonders, restore and transform its home planet and finally settle on other heavenly bodies. Human genetic engineering has advanced to the point that anyone—single individuals, same-sex couples, groups of three or more—can reproduce. The embryos can be allowed to be developed naturally, or they can undergo three levels of tinkering: 1. Genefixing, which corrects defects; 2. Upgrades, which boost natural abilities (Ishtar Upgrades are slightly more attractive than usual, Metanoia Upgrades are more intelligent, etc.); and... 3. Full transition to parahuman status (Nyx Parahumans only need a few hours of sleep per week, Aquamorphs can live underwater, etc.) Another type of human genetic engineering, far more controversial, is the creation of bioroids, fully sentient slave races. People can "upload" by recording the simulation of their brains on computer disks. The emulated individual then becomes a ghost, an infomorph very easily confused with "sapient artificial intelligence". However, this technology has several problems as the solely available "brainpeeling" technique is fatal to the original biological lifeform being simulated, has a significant failure rate and the philosophical questions regarding personal identity remain equivocal. Any infomorph, regardless of its origin, can be plugged into a "cybershell" (robotic or cybernetic body), or a biological body, or "bioshell". Or, the individual can illegally make multiple "xoxes", or copies of themselves, and scatter them throughout the system, exponentially increasing the odds that at least one of them will live for centuries more, if not forever. This is also a time of space colonization. First, humanity (specifically China, followed by the United States and others) colonized Mars in a fashion resembling that outlined in the Mars Direct project. The Moon, Lagrangian points, inner planets and asteroids soon followed. In the late 21st century even some of Saturn's moons have been settled as a base for that planet's Helium-3 scooping operations. Transhuman Space's setting is neither utopia nor dystopia, however: several problems have arisen from these otherwise beneficial developments. The generation gap has become a chasm as lifespans increase. No longer do the elite fear death, and no longer can the young hope to replace them. While it seemed that outworld colonies would offer accommodation and work for those young ones, they are being replaced by genetically tailored bioroids and AI-powered cybershells. The concept of humanity is no longer clear in a world where even some animals speak of their rights and the dead haunt both cyberspace and reality (in form of infomorph-controlled bioshells or cybershells). And the wonders of high science are not universally shared — some countries merely struggle with informatization while others suffer from nanoplagues, defective drugs, implants and software tested on their populace. In some poor countries high-tech tyrants oppress their backward people. And in outer space all sort of modern crime thrives, barely suppressed by military forces. == Publication history == After the initial set of GURPS books that were published using the GURPS Lite, later publications such as Transhuman Space by David Pulver were labelled simply "Powered by GURPS" without using the name "GURPS" in the book title. Transhuman Space received a significant amount of supporting publications, and was the largest original background setting that Steve Jackson Games produced in 15 years. Shannon Appelcline noted that by its inclusion of posthuman characters, the book began to show the limits of the GURPS system as it was, which is something that Pulver would address soon thereafter. Steve Jackson Games has not updated the core book (GURPS Transhuman Space) to 4th edition, although the supplement Transhuman Space: Changing Times provides a path for migrating to 4th edition. It has produced several 4th edition supplements for the setting: Transhuman Space: Bioroid Bazaar, Transhuman Space: Cities on the Edge, Transhuman Space: Martial Arts 2100, Transhuman Space: Personnel Files 2-5, Transhuman Space: Shell-Tech, GURPS Spaceships 8: Transhuman Spacecraft, Transhuman Space: Transhuman Mysteries, and Transhuman Space: Wings of the Rising Sun. == Reception == In a review of Transhuman Space in Black Gate, William Stoddard said "Transhuman Space was a richly detailed setting; if it had imperfections, it had enough depth to make up for them. I think it has the potential to become a classic in its field. Perhaps a campaign set in its default start year of 2100 could leave the early twenty-first century blurry enough to avoid obvious incongruities." == Reviews == Review in Vol. 20, No. 1 of Prometheus, the journal of the Libertarian Futurist Society.

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  • Pop music automation

    Pop music automation

    Pop music automation is a field of study among musicians and computer scientists with a goal of producing successful pop music algorithmically. It is often based on the premise that pop music is especially formulaic, unchanging, and easy to compose. The idea of automating pop music composition is related to many ideas in algorithmic music, artificial intelligence (AI) and computational creativity. == History of automation in music == Algorithms (or, at the very least, formal sets of rules) have been used to compose music for centuries; the procedures used to plot voice-leading in counterpoint, for example, can often be reduced to algorithmic determinant. Now the term is usually reserved, however, for the use of formal procedures to make music without human intervention. Classical music automation software exists that generates music in the style of Mozart and Bach and jazz. Most notably, David Cope has written a software system called "Experiments in Musical Intelligence" (or "EMI") that is capable of analyzing and generalizing from existing music by a human composer to generate novel musical compositions in the same style. EMI's output is convincing enough to persuade human listeners that its music is human-generated to a high level of competence. Creativity research in jazz has focused on the process of improvisation and the cognitive demands that this places on a musical agent: reasoning about time, remembering and conceptualizing what has already been played, and planning ahead for what might be played next. Inevitably associated with pop music automation is pop music analysis. Projects in pop music automation may include, but are not limited to, ideas in melody creation and song development, vocal generation or improvement, automatic accompaniment and lyric composition. == Automatic accompaniment == Some systems exist that automatically choose chords to accompany a vocal melody in real-time. A user with no musical experience can create a song with instrumental accompaniment just by singing into a microphone. An example is a Microsoft Research project called Songsmith, which trains a Hidden Markov model using a music database and uses that model to select chords for new melodies. == Melody generation == Automatic melody generation is often done with a Markov chain, the states of the system become note or pitch values, and a probability vector for each note is constructed, completing a transition probability matrix (see below). An algorithm is constructed to produce an output note values based on the transition matrix weightings, which could be MIDI note values, frequency (Hz), or any other desirable metric. A second-order Markov chain can be introduced by considering the current state and also the previous state, as indicated in the second table. Higher, nth-order chains tend to "group" particular notes together, while 'breaking off' into other patterns and sequences occasionally. These higher-order chains tend to generate results with a sense of phrasal structure, rather than the 'aimless wandering' produced by a first-order system. == Lyric composition == Automated lyric creating software may take forms such as: Selecting words according to their rhythm The Tra-la-Lyrics system produces song lyrics, in Portuguese, for a given melody. This not only involves matching each word syllable with a note in the melody, but also matching the word's stress with the strong beats of the melody. Parsing existing pop music (e.g. for content or word choice) This involves natural language processing. Pablo Gervás has developed a noteworthy system called ASPERA that employs a case-based reasoning (CBR) approach to generating poetic formulations of a given input text via a composition of poetic fragments that are retrieved from a case-base of existing poems. Each poem fragment in the ASPERA case-base is annotated with a prose string that expresses the meaning of the fragment, and this prose string is used as the retrieval key for each fragment. Metrical rules are then used to combine these fragments into a well-formed poetic structure. Automatic analogy or story creation Programs like TALE-SPIN and The MINSTREL system represent a complex elaboration of this basis approach, distinguishing a range of character-level goals in the story from a range of author-level goals for the story. Systems like Bringsjord's BRUTUS can create stories with complex interpersonal themes like betrayal. On-line metaphor generation systems like 'Sardonicus' or 'Aristotle' can suggest lexical metaphors for a given descriptive goal (e.g., to describe a supermodel as skinny, the source terms “pencil”, “whip”, “whippet”, “rope”, “stick-insect” and “snake” are suggested). Free association of grouped words Using a language database (such as wordnet) one can create musings on a subject that may be weak grammatically but are still sensical. See such projects as the Flowerewolf automatic poetry generator or the Dada engine. == Software == === More or less free === BreathCube by xoxos. Simple lyrical vocal content is generated with simple music. CubeBreath by xoxos. Audio input is vocoded in tune with the music. Midi Internet Algorithmic Composition infno, infinite generator of electronic dance music and synth-pop. Algorithmic Trap, trap beat generator. === Commercial === Band in a box generates any element, potentially creates whole new songs from scratch. Musical Palette - Melody Composing Tool SongSmith: Automatic accompaniment for vocal melodies Ludwig 3.0 automatic accompaniment, writes arrangements for given instruments, plays its own songs for an infinitely long time. Automated Composing System creates music in many different styles

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  • Science Fiction Thinking Machines

    Science Fiction Thinking Machines

    Science Fiction Thinking Machines: Robots, Androids, Computers is an anthology of science fiction short stories edited by American anthologist Groff Conklin. It was first published in hardcover by Vanguard Press in May 1954. An abridged paperback edition titled, Selections from Science Fiction Thinking Machines was later published by Bantam Books in August 1955 and was reprinted in September 1964. The book consists of twenty-two novelettes and short stories by various science fiction authors, together with an introduction and bibliography by the editor. The stories were previously published from 1899-1954, in various science fiction and other magazines. == Contents == Note: stories also appearing in the abridged edition annotated A. "Introduction" (Groff Conklin) "Automata: I" (S. Fowler Wright) "Moxon's Master" (Ambrose Bierce) "Robbie" (Isaac Asimov) A "The Scarab" (Raymond Z. Gallun) "The Mechanical Bride" (Fritz Leiber) "Virtuoso" (Herbert Goldstone) A "Automata: II" (S. Fowler Wright) "Boomerang" (Eric Frank Russell) A "The Jester" (William Tenn) A "R. U. R." (Karel Čapek) "Skirmish" (Clifford D. Simak) A "Soldier Boy" (Michael Shaara) "Automata: III" (S. Fowler Wright) "Men Are Different" (Alan Bloch) A "Letter to Ellen" (Chan Davis) A "Sculptors of Life" (Wallace West) "The Golden Egg" (Theodore Sturgeon) A "Dead End" (Wallace Macfarlane) A "Answer" (Hal Clement) "Sam Hall" (Poul Anderson) A "Dumb Waiter" (Walter M. Miller Jr.) A "Problem for Emmy" (Robert Sherman Townes) A "Selected List of Tales About Robots, Androids, and Computers" (Groff Conklin)

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  • Multicloud

    Multicloud

    Multicloud (also written as multi-cloud or multi cloud) is a term with varying interpretations, generally referring to a system using multiple cloud computing providers. According to ISO/IEC 22123-1: "multi-cloud is a cloud deployment model in which a customer uses public cloud services provided by two or more cloud service providers". Multi-cloud can involve various deployment models, including public, private, and hybrid clouds, and multiple service models, such as Infrastructure as a Service (IaaS), Platform as a Service (PaaS), and Software as a Service (SaaS). Multicloud incorporates workload, data, traffic, and workflow portability options, which can result in varying implementation complexity. When effectively implemented, multicloud solutions can enhance architectural resilience, reduce dependence on a single vendor, and improve flexibility by leveraging services from different providers. However, multicloud strategies also present challenges, including increased operational complexity, security risks, higher costs, and integration difficulties. According to the 2024 State of the Cloud Report by Flexera, multi-cloud adoption has continued to rise in 2024. Enterprises increasingly silo applications into specific clouds and select best-fit services. Key use cases include data analysis in separate clouds and cross-cloud disaster recovery. == Advantages and challenges == There are several advantages to using a multicloud approach, including the ability to negotiate better pricing with cloud providers, the ability to quickly switch to another provider if needed, and the ability to avoid vendor lock-in. Multicloud can also be a good way to hedge against the risks of obsolescence, as it allows you to rely on multiple vendors and open standards, which can prolong the life of your systems. Additional benefits of the multicloud architecture include adherence to local policies that require certain data to be physically present within the area/country, geographical distribution of processing requests from physically closer cloud unit which in turn reduces latency and protect against disasters. Various issues and challenges also present themselves in a multicloud environment. Security and governance is more complicated, and more "moving parts" may create resiliency issues. == Difference between multicloud and hybrid cloud == Multicloud differs from hybrid cloud in that it refers to multiple cloud services from different vendors rather than multiple deployment modes (on-premises hardware, and public and private, cloud hosting). However, when considering a broad definition of multi-cloud, hybrid cloud can still be regarded as a special form of multi-cloud.

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  • Orange (software)

    Orange (software)

    Orange is an open-source data visualization, machine learning and data mining toolkit. It features a visual programming front-end for exploratory qualitative data analysis and interactive data visualization. == Description == Orange is a component-based visual programming software package for data visualization, machine learning, data mining, and data analysis. Orange components are called widgets. They range from simple data visualization, subset selection, and preprocessing to empirical evaluation of learning algorithms and predictive modeling. Visual programming is implemented through an interface in which workflows are created by linking predefined or user-designed widgets, while advanced users can use Orange as a Python library for data manipulation and widget alteration. == Software == Orange is an open-source software package released under GPL and hosted on GitHub. Versions up to 3.0 include core components in C++ with wrappers in Python. From version 3.0 onwards, Orange uses common Python open-source libraries for scientific computing, such as numpy, scipy and scikit-learn, while its graphical user interface operates within the cross-platform Qt framework. The default installation includes a number of machine learning, preprocessing and data visualization algorithms in 6 widget sets (data, transform, visualize, model, evaluate and unsupervised). Additional functionalities are available as add-ons (text-mining, image analytics, bioinformatics, etc.). Orange is supported on macOS, Windows and Linux and can also be installed from the Python Package Index repository (pip install Orange3). == Features == Orange consists of a canvas interface onto which the user places widgets and creates a data analysis workflow. Widgets offer basic functionalities such as reading the data, showing a data table, selecting features, training predictors, comparing learning algorithms, visualizing data elements, etc. The user can interactively explore visualizations or feed the selected subset into other widgets. Canvas: graphical front-end for data analysis Widgets: Data: widgets for data input, data filtering, sampling, imputation, feature manipulation and feature selection Visualize: widgets for common visualization (box plot, histograms, scatter plot) and multivariate visualization (mosaic display, sieve diagram). Classify: a set of supervised machine learning algorithms for classification Regression: a set of supervised machine learning algorithms for regression Evaluate: cross-validation, sampling-based procedures, reliability estimation and scoring of prediction methods Unsupervised: unsupervised learning algorithms for clustering (k-means, hierarchical clustering) and data projection techniques (multidimensional scaling, principal component analysis, correspondence analysis). == Add-ons == Orange users can extend their core set of components with components in the add-ons. Supported add-ons include: Associate: components for mining frequent itemsets and association rule learning. Bioinformatics: components for gene expression analysis, enrichment, and access to expression databases (e.g., Gene Expression Omnibus) and pathway libraries. Data fusion: components for fusing different data sets, collective matrix factorization, and exploration of latent factors. Educational: components for teaching machine learning concepts, such as k-means clustering, polynomial regression, stochastic gradient descent, ... Explain: provides an extension with components for the model explanation, including Shapley value analysis Geo: components for working with geospatial data. Image analytics: components for working with images and ImageNet embeddings Network: components for graph and network analysis. Text mining: components for natural language processing and text mining. Time series: widget components for time series analysis and modeling. Single-cell: support for single-cell gene expression analysis, including components for loading single-cell data, filtering and batch effect removal, marker genes discovery, scoring of cells and genes, and cell type prediction. Spectroscopy: components for analyzing and visualization of (hyper)spectral datasets. Survival analysis: add-on for data analysis dealing with survival data. It includes widgets for standard survival analysis techniques, such as the Kaplan-Meier plot, the Cox regression model, and several derivative widgets. World Happiness: support for downloading socioeconomic data from a database, including OECD and World Development Indicators. Provides access to thousands of country indicators from various economic databases. Fairness: add-on for evaluation and creation of fair machine learning models without discrimination. Widgets range from computing fairness metrics like statistical parity to post-, pre-, in-processing methods to build fair models. == Objectives == The program provides a platform for experiment selection, recommendation systems, and predictive modelling and is used in biomedicine, bioinformatics, genomic research, and teaching. In science, it is used as a platform for testing new machine learning algorithms and for implementing new techniques in genetics and bioinformatics. In education, it was used for teaching machine learning and data mining methods to students of biology, biomedicine, and informatics. == Extensions == Various projects build on Orange either by extending the core components with add-ons or using only the Orange Canvas to exploit the implemented visual programming features and GUI. OASYS — ORange SYnchrotron Suite scOrange — single cell biostatistics Quasar — data analysis in natural sciences == History == In 1996, the University of Ljubljana and Jožef Stefan Institute started development of ML, a machine learning framework in C++, and Python bindings were developed for this framework in 1997, which, together with emerging Python modules, formed a joint framework called Orange. Over the following years, most contemporary major algorithms for data mining and machine learning were implemented in C++ (Orange's core) or Python modules. In 2002, first prototypes to create a flexible graphical user interface were designed using Pmw Python megawidgets. In 2003, the graphical user interface was redesigned and re-developed for Qt framework using PyQt Python bindings. The visual programming framework was defined, and the development of widgets (graphical components of the data analysis pipeline) began. In 2005, extensions for data analysis in bioinformatics was created. In 2008, Mac OS X DMG and Fink-based installation packages were developed. In 2009, over 100 widgets were created and maintained. In 2009, Orange 2.0 beta was released, offering installation packages on the website based on the daily compiling cycle. In 2012, a new object hierarchy was imposed, replacing the old module-based structure. In 2013, a significant redesign of the graphical user interface included a new toolbox and depiction of workflows. In 2015, Orange 3.0 was released. Orange stores the data in NumPy arrays; machine learning algorithms mostly use scikit-learn. In 2015, a text analysis add-on for Orange3 was released. In 2016, Orange released version 3.3. Development scheduled a monthly cycle for stable releases. In 2016, Orange began development and release of an Image Analytics add-on, with server-side deep neural networks for image embedding In 2017, a Spectroscopy add-on for the analysis of spectral data was introduced. In 2017, Geo, an add-on for dealing with geo-location data and visualisation of geo maps was introduced In 2018, Orange began development and release of an add-on for single-cell data analysis. In 2019, Orange separated its graphical interface for development as a separate project, orange-canvas-core In 2020, Orange introduced the Explain add-on with widgets for explaining classification models and regression models, highlighting the strength and contributions specific features make towards predicting a specific class. In 2022, World Happiness, an add-on for the Orange3 data mining suite, was introduced, providing widgets for accessing socioeconomic data from various databases such as World Happiness Report, World Development Indicators, OECD. In 2022, Orange extended the Explain add-on with an Individual Conditional Expectation plot and the Permutation Feature Importance technique. In 2023, Orange introduced the Fairness add-on, including widgets to calculate bias metrics, as well as widgets for pre-, post-, and in-processing methods, allowing the creation of models less susceptible to systematic error due to the vagaries of the data set.

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  • Pop music automation

    Pop music automation

    Pop music automation is a field of study among musicians and computer scientists with a goal of producing successful pop music algorithmically. It is often based on the premise that pop music is especially formulaic, unchanging, and easy to compose. The idea of automating pop music composition is related to many ideas in algorithmic music, artificial intelligence (AI) and computational creativity. == History of automation in music == Algorithms (or, at the very least, formal sets of rules) have been used to compose music for centuries; the procedures used to plot voice-leading in counterpoint, for example, can often be reduced to algorithmic determinant. Now the term is usually reserved, however, for the use of formal procedures to make music without human intervention. Classical music automation software exists that generates music in the style of Mozart and Bach and jazz. Most notably, David Cope has written a software system called "Experiments in Musical Intelligence" (or "EMI") that is capable of analyzing and generalizing from existing music by a human composer to generate novel musical compositions in the same style. EMI's output is convincing enough to persuade human listeners that its music is human-generated to a high level of competence. Creativity research in jazz has focused on the process of improvisation and the cognitive demands that this places on a musical agent: reasoning about time, remembering and conceptualizing what has already been played, and planning ahead for what might be played next. Inevitably associated with pop music automation is pop music analysis. Projects in pop music automation may include, but are not limited to, ideas in melody creation and song development, vocal generation or improvement, automatic accompaniment and lyric composition. == Automatic accompaniment == Some systems exist that automatically choose chords to accompany a vocal melody in real-time. A user with no musical experience can create a song with instrumental accompaniment just by singing into a microphone. An example is a Microsoft Research project called Songsmith, which trains a Hidden Markov model using a music database and uses that model to select chords for new melodies. == Melody generation == Automatic melody generation is often done with a Markov chain, the states of the system become note or pitch values, and a probability vector for each note is constructed, completing a transition probability matrix (see below). An algorithm is constructed to produce an output note values based on the transition matrix weightings, which could be MIDI note values, frequency (Hz), or any other desirable metric. A second-order Markov chain can be introduced by considering the current state and also the previous state, as indicated in the second table. Higher, nth-order chains tend to "group" particular notes together, while 'breaking off' into other patterns and sequences occasionally. These higher-order chains tend to generate results with a sense of phrasal structure, rather than the 'aimless wandering' produced by a first-order system. == Lyric composition == Automated lyric creating software may take forms such as: Selecting words according to their rhythm The Tra-la-Lyrics system produces song lyrics, in Portuguese, for a given melody. This not only involves matching each word syllable with a note in the melody, but also matching the word's stress with the strong beats of the melody. Parsing existing pop music (e.g. for content or word choice) This involves natural language processing. Pablo Gervás has developed a noteworthy system called ASPERA that employs a case-based reasoning (CBR) approach to generating poetic formulations of a given input text via a composition of poetic fragments that are retrieved from a case-base of existing poems. Each poem fragment in the ASPERA case-base is annotated with a prose string that expresses the meaning of the fragment, and this prose string is used as the retrieval key for each fragment. Metrical rules are then used to combine these fragments into a well-formed poetic structure. Automatic analogy or story creation Programs like TALE-SPIN and The MINSTREL system represent a complex elaboration of this basis approach, distinguishing a range of character-level goals in the story from a range of author-level goals for the story. Systems like Bringsjord's BRUTUS can create stories with complex interpersonal themes like betrayal. On-line metaphor generation systems like 'Sardonicus' or 'Aristotle' can suggest lexical metaphors for a given descriptive goal (e.g., to describe a supermodel as skinny, the source terms “pencil”, “whip”, “whippet”, “rope”, “stick-insect” and “snake” are suggested). Free association of grouped words Using a language database (such as wordnet) one can create musings on a subject that may be weak grammatically but are still sensical. See such projects as the Flowerewolf automatic poetry generator or the Dada engine. == Software == === More or less free === BreathCube by xoxos. Simple lyrical vocal content is generated with simple music. CubeBreath by xoxos. Audio input is vocoded in tune with the music. Midi Internet Algorithmic Composition infno, infinite generator of electronic dance music and synth-pop. Algorithmic Trap, trap beat generator. === Commercial === Band in a box generates any element, potentially creates whole new songs from scratch. Musical Palette - Melody Composing Tool SongSmith: Automatic accompaniment for vocal melodies Ludwig 3.0 automatic accompaniment, writes arrangements for given instruments, plays its own songs for an infinitely long time. Automated Composing System creates music in many different styles

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