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  • Tea (app)

    Tea (app)

    Tea, officially Tea Dating Advice, is a dating surveillance mobile phone application that allows women to post personal data about men they are interested in or are currently dating. Founded by Sean Cook, the app rose to prominence in July 2025 after it was the subject of three major data leaks in July and August 2025. It was removed from Apple's App Store in October 2025, but remains available on the Google Play Store. == History == The app enables its users to upload, view, and comment on photos of men, check men's public records, and perform image searches. It also provides the ability to rate and review men, as well as a group chat function. The app uses artificial intelligence to verify that the user is a woman through facial analysis and other personal information to preserve the app as a women-only space. Users are required to submit their photo and an ID to access the app. The company that created the app was founded by businessman and tech capitalist Sean Cook, who stated in July 2025 that he was inspired to create the app because of his mother's experiences from online dating. According to the company, users remain anonymous, and the requirement to upload an ID was removed in 2023. An August 2025 investigation by 404 Media suggested that much of the information given by Cook on the historical background of the company was inaccurate. In July 2025, private messages, other personally identifying information, and approximately 72,000 images were leaked via 4chan. A further 1.1 million private messages were subsequently leaked using a separate security vulnerability; these included intimate conversations about controversial topics such as adultery and other forms of infidelity to their partners, discussions of abortion, phone numbers, meeting locations, and other confidential communications. The app's publishers subsequently revoked the ability to private message users in the app. Shortly after, the app was hidden from search on Android and an interactive, unverified map was also created of those in the files. By 7 August 2025, ten class action lawsuits had been filed. A further leak was reported later that month. Proponents have praised the app as an aid for women's safety by helping them check men for adultery, catfishing, criminal convictions and other "red flag" behaviors. Critics have described the app as a doxing tool and a violation of privacy, an opportunity for defamation against innocent individuals, and a witch hunt. Cook has stated that the company's legal team receives about three legal threats per day. Another mobile app, called TeaOnHer, was created in response of the app’s popularity. It was described as the male version of the Tea app. The app also reported a data breach in August 2025. In October 2025, Apple removed the app from their app store, telling journalists that the removal was due to a failure to meet company terms regarding content moderation and user privacy. Apple also mentioned an excessive amount of complaints, including allegations that the personal information of minors was being shared. The app remains on the Google Play Store.

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  • Veo (text-to-video model)

    Veo (text-to-video model)

    Veo, or Google Veo, is a text-to-video model developed by Google DeepMind and announced in May 2024. As a generative AI model, it creates videos based on user prompts. Veo 3, released in May 2025, can also generate accompanying audio. == Development == In May 2024, a multimodal video generation model called Veo was announced at Google I/O 2024. Google claimed that it could generate 1080p videos over a minute long. In December 2024, Google released Veo 2, available via VideoFX. It supports 4K resolution video generation and has an improved understanding of physics. In April 2025, Google announced that Veo 2 became available for advanced users on the Gemini app. In May 2025, Google released Veo 3, which not only generates videos but also creates synchronized audio — including dialogue, sound effects, and ambient noise — to match the visuals. Google also announced Flow, a video-creation tool powered by Veo and Imagen. Google DeepMind CEO Demis Hassabis described the release as the moment when AI video generation left the era of the silent film. This was rebranded as Google Flow at the 2026 Google I/O keynote, along with the announcement of Google Flow Music. == Capabilities == Google Veo can be purchased at multiple subscription tiers and through Google "AI credits". The software itself can be run by two different consoles, Google Gemini and Google Flow. Gemini being geared towards shorter, quicker, and faster projects, using the Gemini AI chat model, with Google Flow, which is essentially a movie editor allowing users to create longer projects with continuity, using the same characters and actors. Users can create a maximum of eight seconds per clip. According to Gizmodo Veo 3 users were directing the model to generate low-quality content, such as man on the street interviews or haul videos of people unboxing products. 404 Media reported that the tool tended to repeat the same joke in response to different prompts. Commentators speculated that Google had trained the service on YouTube videos or Reddit posts. Google itself had not stated the source of its training content. In July 2025, Media Matters for America reported that racist and antisemitic videos generated using Veo 3 were being uploaded to TikTok. Ryan Whitwam of Ars Technica commented, "In a perfect world, Veo 3 would refuse to create these videos, but vagueness in the prompt and the AI's inability to understand the subtleties of racist tropes (i.e., the use of monkeys instead of humans in some videos) make it easy to skirt the rules."

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  • Pippit

    Pippit

    Pippit (Chinese: 小云雀; pinyin: Xiǎoyúnquè) is an artificial intelligence content creation platform developed by the Chinese technology company ByteDance. The platform, powered by CapCut leverages multimodal AI technology to streamline professional-grade video and image production, specifically targeting small and medium-sized enterprisesand social media creators. == History == In May 2025, ByteDance officially launched Pippit, which is positioned as an AI video and picture creation tool. In early 2026, Pippit underwent a major architectural overhaul with the integration of the Dreamina seedance 2.0. This technical milestone introduced the "Short Drama Agent" functionality, which enables the end-to-end conversion of scripts up to 100,000 words into fully rendered video productions.

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  • R.U.R.

    R.U.R.

    R.U.R. is a 1920 science fiction play by the Czech writer Karel Čapek. "R.U.R." stands for Rossumovi Univerzální Roboti (Rossum's Universal Robots, a phrase that has been used as a subtitle in English versions). The play had its world premiere on 2 January 1921 in Hradec Králové. It introduced the word "robot" to the English language and to science fiction as a whole. R.U.R. became influential soon after its publication. By 1923, it had been translated into thirty languages. R.U.R. was successful in its time in Europe and North America. Čapek later took a different approach to the same theme in his 1936 novel War with the Newts, in which non-humans become a servant-class in human society. == Characters == Parentheses indicate names which vary according to translation. On the meaning of the names, see Ivan Klíma: Karel Čapek: Life and Work (2002). == Plot == === Synopsis === The play begins in a factory that makes artificial workers from synthetic organic matter. (As living creatures of artificial flesh and blood, that later terminology would call androids, the playwright's 'roboti' differ from later fictional and scientific concepts of inorganic constructs.) Robots may be mistaken for humans but have no original thoughts. Though most are content to work for humans, eventually a rebellion causes the extinction of the human race. === Prologue (Act I in the Selver translation) === Helena, the daughter of the president of a major industrial power, arrives at the island factory of Rossum's Universal Robots. Here, she meets Domin, the General Manager of R.U.R., who relates to her the history of the company. Rossum had come to the island in 1920 to study marine biology. In 1932, Rossum had invented a substance like organic matter, though with a different chemical composition. He argued with his nephew about their motivations for creating artificial life. While the elder wanted to create animals to prove or disprove the existence of God, his nephew only wanted to become rich. Young Rossum finally locked away his uncle in a lab to play with the monstrosities he had created and created thousands of robots. By the time the play takes place (circa the year 2000), robots are cheap and available all over the world. They have become essential for industry. After meeting the heads of R.U.R., Helena reveals that she is a representative of the League of Humanity, an organization that wishes to liberate the robots. The managers of the factory find this absurd. They see robots as appliances. Helena asks that the robots be paid, but according to R.U.R. management, the robots do not "like" anything. Eventually Helena is convinced that the League of Humanity is a waste of money, but still argues robots have a "soul". Later, Domin confesses that he loves Helena and forces her into an engagement. === Act I (Act II in Selver) === Ten years have passed. Helena and her nurse Nana discuss current events, the decline in human births in particular. Helena and Domin reminisce about the day they met and summarize the last ten years of world history, which has been shaped by the new worldwide robot-based economy. Helena meets Dr. Gall's new experiment, Radius. Dr. Gall describes his experimental robotess, also named Helena. Both are more advanced, fully-featured robots. In secret, Helena burns the formula required to create robots. The revolt of the robots reaches Rossum's island as the act ends. === Act II (Act III in Selver) === The characters sense that the very universality of the robots presents a danger. Echoing the story of the Tower of Babel, the characters discuss whether creating national robots who were unable to communicate beyond their languages would have been a good idea. As robot forces lay siege to the factory, Helena reveals she has burned the formula necessary to make new robots. The characters lament the end of humanity and defend their actions, despite the fact that their imminent deaths are a direct result of their choices. Busman is killed while attempting to negotiate a peace with the robots. The robots storm the factory and kill all the humans except for Alquist, the company's Clerk of the Works (Head of Construction). The robots spare him because they recognize that "He works with his hands like a robot. He builds houses. He can work." === Act III (Epilogue in Selver) === Years have passed. Alquist, who still lives, attempts to recreate the formula that Helena destroyed. He is a mechanical engineer, though, with insufficient knowledge of biochemistry, so he has made little progress. The robot government has searched for surviving humans to help Alquist and found none alive. Officials from the robot government beg him to complete the formula, even if it means he will have to kill and dissect other robots for it. Alquist yields. He will kill and dissect robots, thus completing the circle of violence begun in Act Two. Alquist is disgusted. Robot Primus and Helena develop human feelings and fall in love. Playing a hunch, Alquist threatens to dissect Primus and then Helena; each begs him to take him- or herself and spare the other. Alquist now realizes that Primus and Helena are the new Adam and Eve, and gives the charge of the world to them. == Čapek's conception of robots == The robots described in Čapek's play are not robots in the popularly understood sense of an automaton. They are not mechanical devices, but rather artificial biological organisms that may be mistaken for humans. A comic scene at the beginning of the play shows Helena arguing with her future husband, Harry Domin, because she cannot believe his secretary is a robotess: His robots resemble more modern conceptions of man-made life forms, such as the Replicants in Blade Runner, the "hosts" in the Westworld TV series and the humanoid Cylons in the re-imagined Battlestar Galactica, but in Čapek's time there was no conception of modern genetic engineering (DNA's role in heredity was not confirmed until 1952). There are descriptions of kneading-troughs for robot skin, great vats for liver and brains, and a factory for producing bones. Nerve fibers, arteries, and intestines are spun on factory bobbins, while the robots themselves are assembled like automobiles. Čapek's robots are living biological beings, but they are still assembled, as opposed to grown or born. One critic has described Čapek's robots as epitomizing "the traumatic transformation of modern society by the First World War and the Fordist assembly line". === Origin of the word robot === The play introduced the word robot, which displaced older words such as "automaton" or "android" in languages around the world. In an article in Lidové noviny, Karel Čapek named his brother Josef as the true inventor of the word. In Czech, robota means forced labour of the kind that serfs had to perform on their masters' lands and is derived from rab, meaning "slave". The name Rossum is an allusion to the Czech word rozum, meaning "reason", "wisdom", "intellect" or "common sense". It has been suggested that the allusion might be preserved by translating "Rossum" as "Reason" but only the Majer/Porter version translates the word as "Reason". == Production history and translations == The work was published in two differing versions in Prague by Aventinum, first in 1920, followed by a revised version in 1921. After being postponed, it premiered at the city's National Theatre on 25 January 1921, although an amateur group had by then already presented a production. By 1921, Paul Selver translated either the original 1920 edition of R.U.R. or a manuscript copy close to this version into English. He probably translated the play freelance, and sold it to St Martin's Theatre in London. Selver's translation was adapted for the British stage by Nigel Playfair in 1922, but it was not produced straight away. Later that year performance rights for the U.S. and Canada were sold to the New York Theatre Guild, perhaps during Lawrence Langner's visit to Britain. Playfair's version included several changes to Čapek's original play, such as renaming the acts (the prologue became act one, and the heavily abridged final act became the epilogue), omitting around sixty lines (including most of Alquist's final speech), adding several more lines, and removing the robot character Damon (giving his lines to Radius). The omission of some lines may have been censorship from the Lord Chamberlain's Office, or self-censorship in anticipation of this, while some other changes might have been made by Čapek himself if Selver was working from a manuscript copy. An edition of Playfair's adaptation was published by the Oxford University Press in 1923, and Selver went on to write a satiric novel One, Two, Three (1926) based on his experiences getting R.U.R. staged. The American première was produced by the Theatre Guild at the Garrick Theatre in New York City in October 1922, where it ran for 184 performances. In the first performance, Domin was portrayed by Basil Sydney,

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  • List of monochrome and RGB color formats

    List of monochrome and RGB color formats

    This list of monochrome and RGB palettes includes generic repertoires of colors (color palettes) to produce black-and-white and RGB color pictures by a computer's display hardware. RGB is the most common method to produce colors for displays; so these complete RGB color repertoires have every possible combination of R-G-B triplets within any given maximum number of levels per component. Each palette is represented by a series of color patches. When the number of colors is low, a 1-pixel-size version of the palette appears below it, for easily comparing relative palette sizes. Huge palettes are given directly in one-color-per-pixel color patches. For each unique palette, an image color test chart and sample image (truecolor original follows) rendered with that palette (without dithering) are given. The test chart shows the full 256 levels of the red, green, and blue (RGB) primary colors and cyan, magenta, and yellow complementary colors, along with a full 256-level grayscale. Gradients of RGB intermediate colors (orange, lime green, sea green, sky blue, violet, and fuchsia), and a full hue spectrum are also present. Color charts are not gamma corrected. These elements illustrate the color depth and distribution of the colors of any given palette, and the sample image indicates how the color selection of such palettes could represent real-life images. These images are not necessarily representative of how the image would be displayed on the original graphics hardware, as the hardware may have additional limitations regarding the maximum display resolution, pixel aspect ratio and color placement. Implementation of these formats is specific to each machine. Therefore, the number of colors that can be simultaneously displayed in a given text or graphic mode might be different. Also, the actual displayed colors are subject to the output format used - PAL or NTSC, composite or component video, etc. - and might be slightly different. For simulated images and specific hardware and alternate methods to produce colors other than RGB (ex: composite), see the List of 8-bit computer hardware palettes, the List of 16-bit computer hardware palettes and the List of video game console palettes. For various software arrangements and sorts of colors, including other possible full RGB arrangements within 8-bit color depth displays, see the List of software palettes. == Monochrome palettes == These palettes only have some shades of gray, from black to white (considered the darkest and lightest "grays", respectively). The general rule is that those palettes have 2n different shades of gray, where n is the number of bits needed to represent a single pixel. === Monochrome (1-bit grayscale) === Monochrome graphics displays typically have a black background with a white or light gray image, though green and amber monochrome monitors were also common. Such a palette requires only one bit per pixel. Where photo-realism was desired, these early computer systems had a heavy reliance on dithering to make up for the limits of the technology. In some systems, as Hercules and CGA graphic cards for the IBM PC, a bit value of 1 represents white pixels (light on) and a value of 0 the black ones (light off); others, like the Playdate and Atari ST and Apple Macintosh with monochrome monitors, a bit value of 0 means a white pixel (no ink) and a value of 1 means a black pixel (dot of ink), which it approximates to the printing logic. === 2-bit Grayscale === In a 2-bit color palette each pixel's value is represented by 2 bits resulting in a 4-value palette (22 = 4). 2-bit dithering: It has black, white and two intermediate levels of gray as follows: A monochrome 2-bit palette is used on: The Monochrome Display Adapter for the IBM PC NeXT Computer, NeXTcube and NeXTstation monochrome graphic displays. Original Game Boy system portable video game console. Macintosh PowerBook 150 monochrome LC displays. Amiga with A2024 monochrome monitor in high-resolution mode. The original Amazon Kindle The original WonderSwan The Tiger Electronics Game.com portable video game console The original Neo Geo Pocket. === 4-bit Grayscale === In a 4-bit color palette each pixel's value is represented by 4 bits resulting in a 16-value palette (24 = 16): 4-bit grayscale dithering does a fairly good job of reducing visible banding of the level changes: A monochrome 4-bit palette is used on: MOS Technology VDC (on the Commodore 128 with monochrome monitor) Amstrad CPC series with a GT64/GT65 Green Monitor (16 unique green shades) Amstrad CPC Plus series with the MM12 Monochrome monitor (16 shades of grey) Some Apple PowerBooks equipped with monochrome displays like the PowerBook 5300 The original VideoNow === 8-bit Grayscale === In an 8-bit color palette each pixel's value is represented by 8 bits resulting in a 256-value palette (28 = 256). This is usually the maximum number of grays in ordinary monochrome systems; each image pixel occupies a single memory byte. Most scanners can capture images in 8-bit grayscale, and image file formats like TIFF and JPEG natively support this monochrome palette size. Alpha channels employed for video overlay also use (conceptually) this palette. The gray level indicates the opacity of the blended image pixel over the background image pixel. == Dichrome palettes == === 16-bit RG palette === The RG or red–green color space is a color space that uses only two primary colors: red and green. It was used on early color processes for films. It was used as an additive format, similar to the RGB color model but without a blue channel, on processes such as Kinemacolor, Prizma, Technicolor I, Raycol, etc., producing shades of black, red, green and yellow. Alternatively, it was used as a subtractive format on Brewster Color I, Kodachrome I, Prizma II, Technicolor II, etc., producing shades of transparent, red, green and black. Until recently, its primary use was in low-cost light-emitting diode displays in which red and green tended to be far more common than the still nascent blue LED technology, but full-color LEDs with blue have become more common in recent years. ColorCode 3-D, a anaglyph stereoscopic color scheme, uses the RG color space to simulate a broad spectrum of color in one eye, while the blue portion of the spectrum transmits a black-and-white (black-and-blue) image to the other eye to give depth perception. === 16-bit RB palette === === 16-bit GB palette === == Regular RGB palettes == Here are grouped those full RGB hardware palettes that have the same number of binary levels (i.e., the same number of bits) for every red, green and blue components using the full RGB color model. Thus, the total number of colors are always the number of possible levels by component, n, raised to a power of 3: n×n×n = n3. === 3-bit RGB === 3-bit RGB dithering: Systems with a 3-bit RGB palette use 1 bit for each of the red, green and blue color components. That is, each component is either "on" or "off" with no intermediate states. This results in an 8-color palette ((21)3 = 23 = 8) that has black, white, the three RGB primary colors red, green and blue and their correspondent complementary colors cyan, magenta and yellow as follows: The color indices vary between implementations; therefore, index numbers are not given. The 3-bit RGB palette is used by: Text terminals following the ECMA-48 standard (sometimes known as the "ANSI standard", although ANSI X3.128 does not define colors) World System Teletext Level 1/1.5 Videotex Oric computers BBC Micro PC-8801 (up to the MkII) PC-9801 (with original 8086 CPU, before the VM/VX models) Sharp X1 (models before the X1 Turbo Z) Sharp MZ 700 FM-7, FM New 7, FM 77 (before the FM77AV) Sinclair QL Space Invaders Part II (arcade hardware) Macintosh SE (with a color printer or external monitor) Atari 2600 (SECAM version) Color Maximite (PIC32 based microcomputer) Arcadia 2001 PV-1000 Monkey Magic (arcade hardware) VIC-20 (high-res mode) Mouse Trap (arcade hardware) Sanyo MBC-550 series Windows 1.0 (includes dithering) === 6-bit RGB === Systems with a 6-bit RGB palette use 2 bits for each of the red, green, and blue color components. This results in a (22)3 = 43 = 64-color palette as follows: 6-bit RGB systems include the following: Enhanced Graphics Adapter (EGA) for IBM PC/AT (16 colors at once) Sega Master System video game console (32 colors at once) GIME for TRS-80 Color Computer 3 (16 colors at once) Pebble Time smartwatch which has a 6-bit (64 color) e-paper display Parallax Propeller using the reference VGA circuit === 9-bit RGB === Systems with a 9-bit RGB palette use 3 bits for each of the red, green, and blue color components. This results in a (23)3 = 83 = 512-color palette as follows: 9-bit RGB systems include the following: Atari ST (Normally 4 to 16 at once without tricks) MSX2 computers (up to 16 at once) Sega Genesis video game console, (64 colors at once) Sega Nomad TurboGrafx-16 (NEC PC-Engine) ZX Spectrum Next The NEC PC-88

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  • Artificial intelligence in pharmacy

    Artificial intelligence in pharmacy

    Artificial intelligence in pharmacy refers to the application of artificial intelligence (AI) techniques across pharmaceutical research and practice, including drug discovery, drug delivery, safety monitoring, clinical decision support, and pharmacy operations. Machine learning, deep learning, and natural language processing have been applied to tasks ranging from molecular design to patient adherence monitoring, with the aim of reducing development costs, improving accuracy, and personalizing treatment. Adoption has been uneven. Barriers include limited AI training among pharmacists, high infrastructure costs, and the risk of harm from models trained on unrepresentative data. Regulatory frameworks for AI-based pharmaceutical tools remain in active development across most jurisdictions. == Applications == === Drug discovery and development === Drug development is resource-intensive: bringing a single drug to market typically costs around $2.6 billion and takes 12–14 years. Machine learning algorithms have been applied to analyze molecular datasets to identify potential drug candidates, predict drug–target interactions, and optimize formulations. Artificial neural networks and generative adversarial networks have been used in drug discovery tasks including virtual screening, structure-activity relationship modeling, and de novo molecule generation. Peptides designed using AI methods have shown activity against multidrug-resistant bacteria, and transcriptomic data from human cell lines has been used to train deep learning models to classify drugs by therapeutic properties. Results in drug discovery have been mixed. AI models depend on the quality and diversity of their training data; those trained on narrow chemical libraries can fail to generalize to novel molecular scaffolds. The gap between high virtual screening hit rates and success in preclinical or clinical testing remains a persistent challenge, and the translation of computationally predicted candidates into approved drugs has been slower than early projections suggested. === Drug delivery systems === AI methods including neural networks, principal component analysis, and neuro-fuzzy logic have been applied to identifying biological targets for pharmaceuticals and analyzing genetic information relevant to drug design. Computational models can predict how a formulation will behave in biological systems, helping narrow the field before laboratory synthesis begins. Systems have been proposed that monitor patient response and adjust doses in real time based on individual physiology, with potential applications in chronic disease management. Research has also explored AI applications in targeted cancer treatments and oral vaccine delivery, areas where precise control over drug release kinetics is a design priority. === Drug safety === AI has been applied to predicting and detecting adverse drug reactions using techniques including knowledge graphs, logistic regression classifiers, and neural networks. A 2023 study developed a machine learning algorithm using knowledge graph analysis to classify known causes of adverse reactions. Natural language processing and deep learning models including long short-term memory (LSTM) networks have shown better performance than conventional methods for detecting opioid misuse, drawing on both structured data from electronic health records and unstructured sources such as clinical notes. AI-based pharmacovigilance systems can scan large volumes of electronic health records and social media for drug safety signals at a scale not feasible with manual review. Limitations include difficulty distinguishing drug-related adverse events from unrelated conditions in free-text data, and the need for validated benchmarks to measure model performance against existing safety monitoring standards. === Clinical decision support and personalized medicine === Machine learning systems trained on patient datasets can predict individual risk profiles, including potential allergies and drug–drug interactions, reducing the risk of harm in complex polypharmacy cases where the number of possible interactions exceeds what a clinician can readily assess. Personalized dosing models have been developed for drugs with narrow therapeutic windows — including anticoagulants and immunosuppressants — using patient-specific variables such as weight, renal function, and relevant genetic markers. Prospective clinical validation of these systems has lagged behind their technical development. Most published evaluations report performance on retrospective datasets, and the regulatory pathway for AI-based clinical decision support tools in pharmacy varies by jurisdiction. === Pharmacy operations and automation === Robotic and AI-driven systems have been applied to dispensing accuracy and pharmacy logistics. At the UCSF Medical Center, robotic technology produced 350,000 medication doses with no dispensing errors recorded. Robots such as TUG assist with preparing and transporting medications and laboratory samples within hospital settings. AI has also been applied to inventory management, with demand-forecasting systems predicting medicine requirements to reduce shortages and minimize waste from expired stock. In community pharmacy settings, AI tools have been used to flag potential prescription errors and alert pharmacists to drug–drug interactions before dispensing. === Medication adherence === Confirming that patients take prescribed medications as directed is a persistent challenge in healthcare. AI-enabled tools including smart pillboxes, RFID tags, ingestible sensors, and video check-ins have been applied to this problem. Smart pillboxes record when they are opened, providing real-time adherence data that can be reviewed remotely by care teams. Ingestible sensors transmit a signal after dissolution, offering direct confirmation of ingestion rather than proxy measures such as pill count or self-report. == Adoption challenges == === Barriers === Several barriers limit AI adoption in pharmacy practice. Many published evaluations report model performance on retrospective datasets rather than prospective clinical outcomes, making it difficult to assess real-world benefit. Pharmacists have reported limited AI training and knowledge, and research facilities often lack the computational infrastructure required for model development and validation. Models trained on biased or unrepresentative datasets can produce misleading results with direct patient safety consequences. === Regulatory frameworks === Regulatory frameworks for AI-based pharmaceutical tools are in active development. In the United States, the Food and Drug Administration (FDA) has issued guidance on AI and machine learning-based software as a medical device, addressing requirements for pre-market review and post-market performance monitoring. The European Medicines Agency has published discussion papers on the use of AI across the medicines development lifecycle, with particular attention to transparency in model training and validation. The absence of harmonized international standards creates compliance complexity for developers operating across multiple jurisdictions. === Ethical challenges === AI adoption raises data privacy and security concerns, including the risk of exposing sensitive patient information through data breaches. Algorithmic bias presents a related hazard: a model trained on an unrepresentative patient population may generate unsuitable treatment recommendations for patients not reflected in its training data, with potential for disparate outcomes across demographic groups. The opacity of some machine learning models, particularly deep neural networks, limits clinicians' ability to interpret or contest a recommendation, raising questions of accountability when a model-assisted decision results in patient harm. === Proposed solutions === Responses proposed in the literature include AI-focused education programs for pharmacists, increased public funding for healthcare AI research, encryption and governance frameworks for patient data, and regulatory requirements to prevent the use of biased training datasets. Greater transparency about training data provenance, model architecture, and validation methodology has also been recommended, including disclosure requirements in regulatory submissions. === Future directions === Research groups have called for tighter integration between AI systems and electronic health records to reduce healthcare costs and improve continuity of care across settings. International collaboration through shared AI frameworks and federated learning approaches has been proposed to address data scarcity in underrepresented patient populations and accelerate validation across institutions.

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  • T-norm fuzzy logics

    T-norm fuzzy logics

    T-norm fuzzy logics are a family of non-classical logics, informally delimited by having a semantics that takes the real unit interval [0, 1] for the system of truth values and functions called t-norms for permissible interpretations of conjunction. They are mainly used in applied fuzzy logic and fuzzy set theory as a theoretical basis for approximate reasoning. T-norm fuzzy logics belong in broader classes of fuzzy logics and many-valued logics. In order to generate a well-behaved implication, the t-norms are usually required to be left-continuous; logics of left-continuous t-norms further belong in the class of substructural logics, among which they are marked with the validity of the law of prelinearity, (A → B) ∨ (B → A). Both propositional and first-order (or higher-order) t-norm fuzzy logics, as well as their expansions by modal and other operators, are studied. Logics that restrict the t-norm semantics to a subset of the real unit interval (for example, finitely valued Łukasiewicz logics) are usually included in the class as well. Important examples of t-norm fuzzy logics are monoidal t-norm logic (MTL) of all left-continuous t-norms, basic logic (BL) of all continuous t-norms, product fuzzy logic of the product t-norm, or the nilpotent minimum logic of the nilpotent minimum t-norm. Some independently motivated logics belong among t-norm fuzzy logics, too, for example Łukasiewicz logic (which is the logic of the Łukasiewicz t-norm) or Gödel–Dummett logic (which is the logic of the minimum t-norm). == Motivation == As members of the family of fuzzy logics, t-norm fuzzy logics primarily aim at generalizing classical two-valued logic by admitting intermediary truth values between 1 (truth) and 0 (falsity) representing degrees of truth of propositions. The degrees are assumed to be real numbers from the unit interval [0, 1]. In propositional t-norm fuzzy logics, propositional connectives are stipulated to be truth-functional, that is, the truth value of a complex proposition formed by a propositional connective from some constituent propositions is a function (called the truth function of the connective) of the truth values of the constituent propositions. The truth functions operate on the set of truth degrees (in the standard semantics, on the [0, 1] interval); thus the truth function of an n-ary propositional connective c is a function Fc: [0, 1]n → [0, 1]. Truth functions generalize truth tables of propositional connectives known from classical logic to operate on the larger system of truth values. T-norm fuzzy logics impose certain natural constraints on the truth function of conjunction. The truth function ∗ : [ 0 , 1 ] 2 → [ 0 , 1 ] {\displaystyle \colon [0,1]^{2}\to [0,1]} of conjunction is assumed to satisfy the following conditions: Commutativity, that is, x ∗ y = y ∗ x {\displaystyle xy=yx} for all x and y in [0, 1]. This expresses the assumption that the order of fuzzy propositions is immaterial in conjunction, even if intermediary truth degrees are admitted. Associativity, that is, ( x ∗ y ) ∗ z = x ∗ ( y ∗ z ) {\displaystyle (xy)z=x(yz)} for all x, y, and z in [0, 1]. This expresses the assumption that the order of performing conjunction is immaterial, even if intermediary truth degrees are admitted. Monotony, that is, if x ≤ y {\displaystyle x\leq y} then x ∗ z ≤ y ∗ z {\displaystyle xz\leq yz} for all x, y, and z in [0, 1]. This expresses the assumption that increasing the truth degree of a conjunct should not decrease the truth degree of the conjunction. Neutrality of 1, that is, 1 ∗ x = x {\displaystyle 1x=x} for all x in [0, 1]. This assumption corresponds to regarding the truth degree 1 as full truth, conjunction with which does not decrease the truth value of the other conjunct. Together with the previous conditions this condition ensures that also 0 ∗ x = 0 {\displaystyle 0x=0} for all x in [0, 1], which corresponds to regarding the truth degree 0 as full falsity, conjunction with which is always fully false. Continuity of the function ∗ {\displaystyle } (the previous conditions reduce this requirement to the continuity in either argument). Informally this expresses the assumption that microscopic changes of the truth degrees of conjuncts should not result in a macroscopic change of the truth degree of their conjunction. This condition, among other things, ensures a good behavior of (residual) implication derived from conjunction; to ensure the good behavior, however, left-continuity (in either argument) of the function ∗ {\displaystyle } is sufficient. In general t-norm fuzzy logics, therefore, only left-continuity of ∗ {\displaystyle } is required, which expresses the assumption that a microscopic decrease of the truth degree of a conjunct should not macroscopically decrease the truth degree of conjunction. These assumptions make the truth function of conjunction a left-continuous t-norm, which explains the name of the family of fuzzy logics (t-norm based). Particular logics of the family can make further assumptions about the behavior of conjunction (for example, Gödel–Dummett logic requires its idempotence) or other connectives (for example, the logic IMTL (involutive monoidal t-norm logic) requires the involutiveness of negation). All left-continuous t-norms ∗ {\displaystyle } have a unique residuum, that is, a binary function ⇒ {\displaystyle \Rightarrow } such that for all x, y, and z in [0, 1], x ∗ y ≤ z {\displaystyle xy\leq z} if and only if x ≤ y ⇒ z . {\displaystyle x\leq y\Rightarrow z.} The residuum of a left-continuous t-norm can explicitly be defined as ( x ⇒ y ) = sup { z ∣ z ∗ x ≤ y } . {\displaystyle (x\Rightarrow y)=\sup\{z\mid zx\leq y\}.} This ensures that the residuum is the pointwise largest function such that for all x and y, x ∗ ( x ⇒ y ) ≤ y . {\displaystyle x(x\Rightarrow y)\leq y.} The latter can be interpreted as a fuzzy version of the modus ponens rule of inference. The residuum of a left-continuous t-norm thus can be characterized as the weakest function that makes the fuzzy modus ponens valid, which makes it a suitable truth function for implication in fuzzy logic. Left-continuity of the t-norm is the necessary and sufficient condition for this relationship between a t-norm conjunction and its residual implication to hold. Truth functions of further propositional connectives can be defined by means of the t-norm and its residuum, for instance the residual negation ¬ x = ( x ⇒ 0 ) {\displaystyle \neg x=(x\Rightarrow 0)} or bi-residual equivalence x ⇔ y = ( x ⇒ y ) ∗ ( y ⇒ x ) . {\displaystyle x\Leftrightarrow y=(x\Rightarrow y)(y\Rightarrow x).} Truth functions of propositional connectives may also be introduced by additional definitions: the most usual ones are the minimum (which plays a role of another conjunctive connective), the maximum (which plays a role of a disjunctive connective), or the Baaz Delta operator, defined in [0, 1] as Δ x = 1 {\displaystyle \Delta x=1} if x = 1 {\displaystyle x=1} and Δ x = 0 {\displaystyle \Delta x=0} otherwise. In this way, a left-continuous t-norm, its residuum, and the truth functions of additional propositional connectives determine the truth values of complex propositional formulae in [0, 1]. Formulae that always evaluate to 1 are called tautologies with respect to the given left-continuous t-norm ∗ , {\displaystyle ,} or ∗ - {\displaystyle {\mbox{-}}} tautologies. The set of all ∗ - {\displaystyle {\mbox{-}}} tautologies is called the logic of the t-norm ∗ , {\displaystyle ,} as these formulae represent the laws of fuzzy logic (determined by the t-norm) that hold (to degree 1) regardless of the truth degrees of atomic formulae. Some formulae are tautologies with respect to a larger class of left-continuous t-norms; the set of such formulae is called the logic of the class. Important t-norm logics are the logics of particular t-norms or classes of t-norms, for example: Łukasiewicz logic is the logic of the Łukasiewicz t-norm x ∗ y = max ( x + y − 1 , 0 ) {\displaystyle xy=\max(x+y-1,0)} Gödel–Dummett logic is the logic of the minimum t-norm x ∗ y = min ( x , y ) {\displaystyle xy=\min(x,y)} Product fuzzy logic is the logic of the product t-norm x ∗ y = x ⋅ y {\displaystyle xy=x\cdot y} Monoidal t-norm logic MTL is the logic of (the class of) all left-continuous t-norms Basic fuzzy logic BL is the logic of (the class of) all continuous t-norms It turns out that many logics of particular t-norms and classes of t-norms are axiomatizable. The completeness theorem of the axiomatic system with respect to the corresponding t-norm semantics on [0, 1] is then called the standard completeness of the logic. Besides the standard real-valued semantics on [0, 1], the logics are sound and complete with respect to general algebraic semantics, formed by suitable classes of prelinear commutative bounded integral residuated lattices. == History == Some particular t-norm fuzzy logics have been introduced and investigated long before the family was re

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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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  • Trazzler

    Trazzler

    Trazzler is a travel destination app that specializes in unique and local destinations. The initial concept was developed by Adam Rugel and Biz Stone in 2006 at Twitter's original offices under the name "71 miles". More than 10,000 writers and photographers have contributed and more than $350,000 in freelance contracts have been issued as a result of Trazzeler's weekly writing and photography contests. Investors in the company include SV Angel, AOL Founder Steve Case, and the Twitter founders, Evan Williams, Jack Dorsey, and Biz Stone. The company's partners are the City of Chicago, Hawaii Tourism Authority, Fairmont Hotels & Resorts, Salon.com, and Air New Zealand. Trazzler is designed for use on the iOS, Android, and Facebook.

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  • Fuzzy control system

    Fuzzy control system

    A fuzzy control system is a control system based on fuzzy logic – a mathematical system that analyzes analog input values in terms of logical variables that take on continuous values between 0 and 1, in contrast to classical or digital logic, which operates on discrete values of either 1 or 0 (true or false, respectively). Fuzzy logic is widely used in machine control. The term "fuzzy" refers to the fact that the logic involved can deal with concepts that cannot be expressed as the "true" or "false" but rather as "partially true". Although alternative approaches such as genetic algorithms and neural networks can perform just as well as fuzzy logic in many cases, fuzzy logic has the advantage that the solution to the problem can be cast in terms that human operators can understand, such that that their experience can be used in the design of the controller. This makes it easier to mechanize tasks that are already successfully performed by humans. == History and applications == Fuzzy logic was proposed by Lotfi A. Zadeh of the University of California at Berkeley in a 1965 paper. He elaborated on his ideas in a 1973 paper that introduced the concept of "linguistic variables", which in this article equates to a variable defined as a fuzzy set. Other research followed, with the first industrial application, a cement kiln built in Denmark, coming on line in 1976. Fuzzy systems were initially implemented in Japan. Interest in fuzzy systems was sparked by Seiji Yasunobu and Soji Miyamoto of Hitachi, who in 1985 provided simulations that demonstrated the feasibility of fuzzy control systems for the Sendai Subway. Their ideas were adopted, and fuzzy systems were used to control accelerating, braking, and stopping when the Namboku Line opened in 1987. In 1987, Takeshi Yamakawa demonstrated the use of fuzzy control, through a set of simple dedicated fuzzy logic chips, in an "inverted pendulum" experiment. This is a classic control problem, in which a vehicle tries to keep a pole mounted on its top by a hinge upright by moving back and forth. Yamakawa subsequently made the demonstration more sophisticated by mounting a wine glass containing water and even a live mouse to the top of the pendulum: the system maintained stability in both cases. Yamakawa eventually went on to organize his own fuzzy-systems research lab to help exploit his patents in the field. Japanese engineers subsequently developed a wide range of fuzzy systems for both industrial and consumer applications. In 1988 Japan established the Laboratory for International Fuzzy Engineering (LIFE), a cooperative arrangement between 48 companies to pursue fuzzy research. The automotive company Volkswagen was the only foreign corporate member of LIFE, dispatching a researcher for a duration of three years. Japanese consumer goods often incorporate fuzzy systems. Matsushita vacuum cleaners use microcontrollers running fuzzy algorithms to interrogate dust sensors and adjust suction power accordingly. Hitachi washing machines use fuzzy controllers to load-weight, fabric-mix, and dirt sensors and automatically set the wash cycle for the best use of power, water, and detergent. Canon developed an autofocusing camera that uses a charge-coupled device (CCD) to measure the clarity of the image in six regions of its field of view and use the information provided to determine if the image is in focus. It also tracks the rate of change of lens movement during focusing, and controls its speed to prevent overshoot. The camera's fuzzy control system uses 12 inputs: 6 to obtain the current clarity data provided by the CCD and 6 to measure the rate of change of lens movement. The output is the position of the lens. The fuzzy control system uses 13 rules and requires 1.1 kilobytes of memory. An industrial air conditioner designed by Mitsubishi uses 25 heating rules and 25 cooling rules. A temperature sensor provides input, with control outputs fed to an inverter, a compressor valve, and a fan motor. Compared to the previous design, the fuzzy controller heats and cools five times faster, reduces power consumption by 24%, increases temperature stability by a factor of two, and uses fewer sensors. Other applications investigated or implemented include: character and handwriting recognition; optical fuzzy systems; robots, including one for making Japanese flower arrangements; voice-controlled robot helicopters (hovering is a "balancing act" rather similar to the inverted pendulum problem); rehabilitation robotics to provide patient-specific solutions (e.g. to control heart rate and blood pressure ); control of flow of powders in film manufacture; elevator systems; and so on. Work on fuzzy systems is also proceeding in North America and Europe, although on a less extensive scale than in Japan. The US Environmental Protection Agency has investigated fuzzy control for energy-efficient motors, and NASA has studied fuzzy control for automated space docking: simulations show that a fuzzy control system can greatly reduce fuel consumption. Firms such as Boeing, General Motors, Allen-Bradley, Chrysler, Eaton, and Whirlpool have worked on fuzzy logic for use in low-power refrigerators, improved automotive transmissions, and energy-efficient electric motors. In 1995 Maytag introduced an "intelligent" dishwasher based on a fuzzy controller and a "one-stop sensing module" that combines a thermistor, for temperature measurement; a conductivity sensor, to measure detergent level from the ions present in the wash; a turbidity sensor that measures scattered and transmitted light to measure the soiling of the wash; and a magnetostrictive sensor to read spin rate. The system determines the optimum wash cycle for any load to obtain the best results with the least amount of energy, detergent, and water. It even adjusts for dried-on foods by tracking the last time the door was opened, and estimates the number of dishes by the number of times the door was opened. Xiera Technologies Inc. has developed the first auto-tuner for the fuzzy logic controller's knowledge base known as edeX. This technology was tested by Mohawk College and was able to solve non-linear 2x2 and 3x3 multi-input multi-output problems. Research and development is also continuing on fuzzy applications in software, as opposed to firmware, design, including fuzzy expert systems and integration of fuzzy logic with neural-network and so-called adaptive "genetic" software systems, with the ultimate goal of building "self-learning" fuzzy-control systems. These systems can be employed to control complex, nonlinear dynamic plants, for example, human body. == Fuzzy sets == The input variables in a fuzzy control system are in general mapped by sets of membership functions similar to this, known as "fuzzy sets". The process of converting a crisp input value to a fuzzy value is called "fuzzification". The fuzzy logic based approach had been considered by designing two fuzzy systems, one for error heading angle and the other for velocity control. A control system may also have various types of switch, or "ON-OFF", inputs along with its analog inputs, and such switch inputs of course will always have a truth value equal to either 1 or 0, but the scheme can deal with them as simplified fuzzy functions that happen to be either one value or another. Given "mappings" of input variables into membership functions and truth values, the microcontroller then makes decisions for what action to take, based on a set of "rules", each of the form: IF brake temperature IS warm AND speed IS not very fast THEN brake pressure IS slightly decreased. In this example, the two input variables are "brake temperature" and "speed" that have values defined as fuzzy sets. The output variable, "brake pressure" is also defined by a fuzzy set that can have values like "static" or "slightly increased" or "slightly decreased" etc. === Fuzzy control in detail === Fuzzy controllers are very simple conceptually. They consist of an input stage, a processing stage, and an output stage. The input stage maps sensor or other inputs, such as switches, thumbwheels, and so on, to the appropriate membership functions and truth values. The processing stage invokes each appropriate rule and generates a result for each, then combines the results of the rules. Finally, the output stage converts the combined result back into a specific control output value. The most common shape of membership functions is triangular, although trapezoidal and bell curves are also used, but the shape is generally less important than the number of curves and their placement. From three to seven curves are generally appropriate to cover the required range of an input value, or the "universe of discourse" in fuzzy jargon. As discussed earlier, the processing stage is based on a collection of logic rules in the form of IF-THEN statements, where the IF part is called the "antecedent" and the THEN part is called the "consequent". Typical fuzzy

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  • Tempos Modernos

    Tempos Modernos

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

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  • Perry Rhodan

    Perry Rhodan

    Perry Rhodan is a German space opera franchise, named after its hero. It commenced in 1961 and has been ongoing for decades, written by an ever-changing team of authors. Having sold approximately two billion copies (in novella format) worldwide (including over one billion in Germany alone), it is the most successful science fiction book series ever written. The first billion of worldwide sales was celebrated in 1986. The series has spun off into comic books, audio dramas, video games and the like. A reboot, Perry Rhodan NEO, was launched in 2011 and began publication in English in April 2021. == Print publication == The series has spun off into many different forms of media, but originated as a serial novella published weekly since 8 September 1961 in the Romanheft (Meaning "Magazine novel") format. These are digest-sized booklets, usually containing 66 pages, the German equivalent of the now-defunct (and generally longer) American pulp magazine. They are published by Pabel-Moewig Verlag, a subsidiary of Bauer Media Group headquartered in Hamburg. As of February 2019, 3000 booklet novels of the original series, 850 spinoff novels of the sister series Atlan and over 400 paperbacks and 200 hardcover editions have been published, totalling over 300,000 pages. == English translation == The first 126 novels (plus five novels of the spinoff series Atlan) were translated into English and published by Ace Books between 1969 and 1978, with the same translations used for the British edition published by Futura Publications which issued only 39 novels. When Ace cancelled its translation of the series, translator Wendayne Ackerman self-published the following 19 novels (under the business name 'Master Publications') and made them available by subscription only. Financial disputes with the German publishers led to the cancellation of the American translation in 1979. An attempt to revive the series in English was made in 1997–1998 by Vector Publications of the US, which published translations of four issues (1800–1803) from the current storyline being published in Germany at the time. The series and its spin-offs have captured a substantial fraction of the original German science fiction output and exert influence on many German writers in the field. == Structure == The series is told in an arc storyline structure. An arc—called a "cycle"—would have anywhere from 25 to 100 issues devoted to it. Similar subsequent cycles are referred to as a "grand-cycle". == History == ‘Perry Rhodan, der Erbe des Universums’ (Eng: ‘The Heir to the Universe’, though the American/British editions instead used the subtitle 'Peacelord of the Universe') was created by German science fiction authors K. H. Scheer and Walter Ernsting and launched in 1961 by German publishing house Arthur Moewig Verlag (now Pabel-Moewig Verlag). Originally planned as a 30 to 50 volume series, it has been published continuously every week since, celebrating the 3000th issue in 2019. Written by an ever-changing team of authors, many of whom, however, remained with the series for decades or life, Perry Rhodan is issued in weekly novella-size installments in the traditional German Heftroman (pulp booklet) format. Unlike most German Heftromane, Perry Rhodan consists not of unconnected novels but is a series with a continuous, increasingly complex plotline, with frequent back references to events. In addition to its original Heftroman form, the series now also appears in hardcovers, paperbacks, e-books, comics and audiobooks. Over the decades there have also been comic strips, numerous collectibles, several encyclopedias, audio plays, inspired music, etc. The series has seen partial translations into several languages. It also spawned the German-Italian-Spanish 1967 movie Mission Stardust, which is widely considered so terrible that many fans of the series pretend it never existed. Coinciding with the 50th-anniversary World Con, on 30 September 2011, a new series named Perry Rhodan Neo began publication, attracting new readers with a reboot of the story, starting in the year 2036 instead of 1971, and a related but independent story-line. On 2 April 2021, light novel and manga publisher J-Novel Club announced Perry Rhodan NEO as a launch title for its new J-Novel Pulp imprint, making this the first ongoing English release of new Perry Rhodan serials in over 20 years. It has become the most popular science fiction book series of all time. == Overview == === Fictional history === The story begins in 1971. During the first human Moon landing by US Space Force Major Perry Rhodan and his crew, they discover a marooned extraterrestrial space ship from the fictional planet Arkon, located in the (real) M13 cluster. Appropriating the Arkonide technology, they proceed to unify Terra and carve out a place for humanity in the galaxy and the cosmos. Two of the accomplishments that enable them to do so are positronic brains and starship drives for near-instantaneous hyperspatial translation. These were directly borrowed from Isaac Asimov's science fiction. As the series progresses, major characters, including the title character, are granted relative immortality. They are immune to age and disease, but not to violent death. The story continues over the course of millennia and includes flashbacks thousands and even millions of years into the past. The scope widens to encompass other galaxies, even more remote regions of space, parallel universes and cosmic structures, time travel, paranormal powers, a variety of aliens ranging from threatening to endearing, and bodiless entities, some of which have godlike powers. === Multiverse === The universe in which the main plot generally takes place is called the Einstein Universe (or "Meekorah"). Its laws are for the most part identical to those of the real universe, as known by late 20th century science. Newer theories about dark matter and dark energy are currently not used in the series. The laws of nature follow old theories that have been disproven, in order to protect series continuity. There are many other universes, each to a greater or lesser extent different from the familiar one, in which, for example one in which time runs slower, an anti-matter universe, a shrinking universe, etc. Each universe possesses its owntimelines, which are for the most part unreachable from each other but may be accessed by special means, thereby itself creating many more parallel timelines. The Einstein Universe is embedded in a high-dimensional manifold, called Hyperspace. This hyperspace consists of several subspaces use for faster-than-light travel by technological means. The exact traits of those higher dimensions are got yhr mode pity unexplained. The border of the universe is a dimension called the deep, once used for construction of the gigantic disc-shaped world Deepland. === Psionic Web and Moral Code === The Psionic Web crosses the whole universe, constantly emitting "vital energy" and "psionic energy", guaranteeing normal (organic among others) life and the wellbeing of higher entities. The Moral Code crosses through all universes, and is linked to the Psionic Web. It is subdivided into the Cosmogenes, which are again subdivided into the Cosmonucleotids. The Cosmonucleotids determine reality and fate for their respective parts of a given universe, via messengers. Higher beings are trying to gain control of this Code to rule reality. The Moral Code itself was not installed by the higher beings, the higher powers by themselves have no clue why or by whom the Code was made. Once the Cosmocrats ordered Perry Rhodan to find the answer to the third ultimate question: "Who initiated the LAW and what does it accomplish?" Perry Rhodan had the chance to receive the answer at the mountain of creation, but refused, as he knew that the answer would destroy his mind. The negative Superintelligence Koltoroc had received the answer to the last ultimate question, 69 million years BC at Negane Mountain, but it is not known if it made any use of the information. === Onion-shell model === An evolutionary schema, similar to the Great Chain of Being, called the "onion-shell model" is employed in relationship to all life. Here, continuous evolution is from lower to higher lifeforms, culminating in bodiless entities. Later in the series, further lifeforms, representing stages between the known shells, were introduced. The main shells are: Lifeless matter Bacteria Higher animals Intelligent species Intelligent species that have contacted other species Superintelligences (SI) Matter sources/ Matter sinks Cosmocrats / Chaotarchs (High Powers) Powers close to the "Horizon of the LAW", the essence of the Multiverse The Superintelligences are the next step above normal minds. They can be born, for example, when a species collectively gives up its bodies and unites their spirits. Such Superintelligences may claim as their domain areas consisting of up to several galaxies (the entity known as "E

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  • International Speech Communication Association

    International Speech Communication Association

    The International Speech Communication Association (ISCA) is a non-profit organization and one of the two main professional associations for speech communication science and technology, the other association being the IEEE Signal Processing Society. == Purpose == The purpose of the International Speech Communication Association (ISCA) is to promote the study and application of automatic speech processing, including speech recognition and synthesis, as well as related areas such as speaker recognition and speech compression. The association's activities cover all aspects of speech processing, including computational, linguistic, and theoretical aspects. The primary goal of the International Speech Communication Association (ISCA) is to advance the field of automatic speech processing and communication technology through research, education, and collaboration. By promoting the study and application of speech technologies such as speech recognition, speech synthesis, speaker recognition, and speech compression, ISCA aims to foster innovation and development in the areas of human-computer interaction, telecommunications, and multimedia applications. ISCA serves as a platform for researchers, academics, industry professionals, and students to exchange knowledge, share best practices, and foster interdisciplinary dialogue in the field of speech communication science. Through conferences, workshops, publications, and educational initiatives, ISCA seeks to enhance the understanding of speech processing mechanisms, improve the accuracy and efficiency of speech technologies, and explore new frontiers in the realm of human language communication. Furthermore, ISCA plays a crucial role in promoting international collaboration and networking among professionals in the speech communication community. By facilitating partnerships and cooperation between individuals and organizations worldwide, ISCA seeks to drive global progress in speech technology research and application, ultimately contributing to the advancement of communication systems, accessibility tools, and interactive interfaces that benefit society as a whole. == Conferences == ISCA organizes yearly the Interspeech conference. Most recent Interspeech: 2013 Lyon, France 2014 Singapore 2015 Dresden, Germany 2016 San Francisco, US 2017 Stockholm, Sweden 2018 Hyderabad, India 2019 Graz, Austria 2020 Shanghai, China (fully virtual) 2021 Brno, Czechia (hybrid) 2022 Incheon, South Korea 2023 Dublin, Ireland 2023 Kos Island, Greece Forthcoming Interspeech: 2025 Rotterdam, the Netherlands == ISCA board == The ISCA president for 2023-2025 is Odette Scharenborg. The vice president is Bhuvana Ramabhadran and the other members are professionals in the field. == History of ISCA == The precursor to Interspeech was a conference called Eurospeech, first held in 1989 and organised by Jean-Pierre Tubach. It was the conference of the European Speech Communication Association (ESCA), itself the precursor of the International Speech Communication Association (ISCA). A year later another conference on speech science and technology was started: the International Conference on Spoken Language Processing (ICSLP), which was founded in 1990 by Hiroya Fujisaki. The first ISCA (vs. ESCA) event was the merging of Eurospeech and ICSLP to create ICSLP-Interspeech, held in Beijing, China in 2000. This was followed by Eurospeech-Interspeech, which was held in Aalborg, Denmark in 2001. In 2007, the Eurospeech and ICSLP parts of the conference names were dropped and Interspeech became the name of the yearly conference (first Interspeech location: Antwerp, Belgium).

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  • The 100 (TV series)

    The 100 (TV series)

    The 100 (pronounced "The Hundred" ) is an American post-apocalyptic science fiction drama television series that premiered on March 19, 2014, on the CW network, and ended on September 30, 2020. Developed by Jason Rothenberg, the series is based on the young adult novel series The 100 by Kass Morgan. The 100 follows descendants of post-apocalyptic survivors from a space habitat, the Ark, who return to Earth nearly a century after a devastating nuclear apocalypse; the first people sent to Earth are a group of juvenile delinquents who encounter another group of survivors on the ground. The juvenile delinquents include Clarke Griffin (Eliza Taylor), Finn Collins (Thomas McDonell), Bellamy Blake (Bob Morley), Octavia Blake (Marie Avgeropoulos), Jasper Jordan (Devon Bostick), Monty Green (Christopher Larkin), and John Murphy (Richard Harmon). Other lead characters include Clarke's mother Dr. Abby Griffin (Paige Turco), Marcus Kane (Henry Ian Cusick), and Chancellor Thelonious Jaha (Isaiah Washington), all of whom are council members on the Ark, and Raven Reyes (Lindsey Morgan), a mechanic aboard the Ark. == Plot == Ninety-seven years after a devastating nuclear apocalypse wipes out most human life on Earth, thousands of people now live in a space station orbiting Earth, which they call the Ark. Three generations have been born in space, but when life-support systems on the Ark begin to fail, one hundred juvenile detainees are sent to Earth in a last attempt to determine whether it is habitable, or at least save resources for the remaining residents of the Ark. They discover that some humans survived the apocalypse: the Grounders, who live in clans locked in a power struggle; the Reapers, another group of grounders who have been turned into cannibals by the Mountain Men; and the Mountain Men, who live in Mount Weather, descended from those who locked themselves away before the apocalypse. Under the leadership of Clarke and Bellamy, the juveniles attempt to survive the harsh surface conditions, battle hostile grounders and establish communication with the Ark. In the second season, the survivors face a new threat from the Mountain Men, who harvest their bone marrow to survive the radiation. Clarke and the others form a fragile alliance with the grounders to rescue their people. The season ends with Clarke making a devastating choice to save them all. In season three, power struggles erupt between the Arkadians and the grounders after a controversial new leader takes charge. Meanwhile, an AI named A.L.I.E., responsible for the original apocalypse, begins taking control of people’s minds. Clarke destroys A.L.I.E. but learns another disaster is imminent. In the fourth season, nuclear reactors are melting down, threatening to wipe out life again. Clarke and her friends search for ways to survive, including experimenting with radiation-resistant blood and finding an underground bunker. As time runs out, only a select few are able to take shelter. The fifth season picks up six years later, when Earth is left largely uninhabitable except for one green valley, where new enemies arrive. Clarke protects her adopted daughter Madi while former survivors return from space and underground, triggering another war. The battle ends with the valley destroyed and the group entering cryosleep to find a new home. In season six, the group awakens 125 years later on a new planet called Sanctum, ruled by powerful families known as the Primes. Clarke fights to stop body-snatching rituals and protect her people from new threats, including a rebel group and a dangerous AI influence. The season ends with major losses and the destruction of the Primes' rule. In the seventh and final season, the survivors face unrest on Sanctum and clash with a mysterious group called the Disciples, who believe Clarke is key to saving humanity. A wormhole network reveals multiple planets and a final "test" that determines the fate of the species. Most transcend into a higher consciousness, but Clarke and a few others choose to live out their lives on a reborn Earth. == Cast and characters == Eliza Taylor as Clarke Griffin Paige Turco as Abigail "Abby" Griffin (seasons 1–6; guest season 7) Thomas McDonell as Finn Collins (seasons 1–2) Eli Goree as Wells Jaha (season 1; guest season 2) Marie Avgeropoulos as Octavia Blake Bob Morley as Bellamy Blake Kelly Hu as Callie "Cece" Cartwig (season 1) Christopher Larkin as Monty Green (seasons 1–5; guest season 6) Devon Bostick as Jasper Jordan (seasons 1–4) Isaiah Washington as Thelonious Jaha (seasons 1–5) Henry Ian Cusick as Marcus Kane (seasons 1–6) Lindsey Morgan as Raven Reyes (seasons 2–7; recurring season 1) Ricky Whittle as Lincoln (seasons 2–3; recurring season 1) Richard Harmon as John Murphy (seasons 3–7; recurring seasons 1–2) Zach McGowan as Roan (season 4; recurring season 3; guest season 7) Tasya Teles as Echo / Ash (seasons 5–7; guest seasons 2–3; recurring season 4) Shannon Kook as Jordan Green (seasons 6–7; guest season 5) JR Bourne as Russell Lightbourne / Malachi / Sheidheda (season 7; recurring season 6) Chuku Modu as Gabriel Santiago (season 7; recurring season 6) Shelby Flannery as Hope Diyoza (season 7; guest season 6) =

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  • Deepfake

    Deepfake

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

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