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  • Proximal gradient methods for learning

    Proximal gradient methods for learning

    Proximal gradient (forward backward splitting) methods for learning is an area of research in optimization and statistical learning theory which studies algorithms for a general class of convex regularization problems where the regularization penalty may not be differentiable. One such example is ℓ 1 {\displaystyle \ell _{1}} regularization (also known as Lasso) of the form min w ∈ R d 1 n ∑ i = 1 n ( y i − ⟨ w , x i ⟩ ) 2 + λ ‖ w ‖ 1 , where x i ∈ R d and y i ∈ R . {\displaystyle \min _{w\in \mathbb {R} ^{d}}{\frac {1}{n}}\sum _{i=1}^{n}(y_{i}-\langle w,x_{i}\rangle )^{2}+\lambda \|w\|_{1},\quad {\text{ where }}x_{i}\in \mathbb {R} ^{d}{\text{ and }}y_{i}\in \mathbb {R} .} Proximal gradient methods offer a general framework for solving regularization problems from statistical learning theory with penalties that are tailored to a specific problem application. Such customized penalties can help to induce certain structure in problem solutions, such as sparsity (in the case of lasso) or group structure (in the case of group lasso). == Relevant background == Proximal gradient methods are applicable in a wide variety of scenarios for solving convex optimization problems of the form min x ∈ H F ( x ) + R ( x ) , {\displaystyle \min _{x\in {\mathcal {H}}}F(x)+R(x),} where F {\displaystyle F} is convex and differentiable with Lipschitz continuous gradient, R {\displaystyle R} is a convex, lower semicontinuous function which is possibly nondifferentiable, and H {\displaystyle {\mathcal {H}}} is some set, typically a Hilbert space. The usual criterion of x {\displaystyle x} minimizes F ( x ) + R ( x ) {\displaystyle F(x)+R(x)} if and only if ∇ ( F + R ) ( x ) = 0 {\displaystyle \nabla (F+R)(x)=0} in the convex, differentiable setting is now replaced by 0 ∈ ∂ ( F + R ) ( x ) , {\displaystyle 0\in \partial (F+R)(x),} where ∂ φ {\displaystyle \partial \varphi } denotes the subdifferential of a real-valued, convex function φ {\displaystyle \varphi } . Given a convex function φ : H → R {\displaystyle \varphi :{\mathcal {H}}\to \mathbb {R} } an important operator to consider is its proximal operator prox φ : H → H {\displaystyle \operatorname {prox} _{\varphi }:{\mathcal {H}}\to {\mathcal {H}}} defined by prox φ ⁡ ( u ) = arg ⁡ min x ∈ H φ ( x ) + 1 2 ‖ u − x ‖ 2 2 , {\displaystyle \operatorname {prox} _{\varphi }(u)=\operatorname {arg} \min _{x\in {\mathcal {H}}}\varphi (x)+{\frac {1}{2}}\|u-x\|_{2}^{2},} which is well-defined because of the strict convexity of the ℓ 2 {\displaystyle \ell _{2}} norm. The proximal operator can be seen as a generalization of a projection. We see that the proximity operator is important because x ∗ {\displaystyle x^{}} is a minimizer to the problem min x ∈ H F ( x ) + R ( x ) {\displaystyle \min _{x\in {\mathcal {H}}}F(x)+R(x)} if and only if x ∗ = prox γ R ⁡ ( x ∗ − γ ∇ F ( x ∗ ) ) , {\displaystyle x^{}=\operatorname {prox} _{\gamma R}\left(x^{}-\gamma \nabla F(x^{})\right),} where γ > 0 {\displaystyle \gamma >0} is any positive real number. === Moreau decomposition === One important technique related to proximal gradient methods is the Moreau decomposition, which decomposes the identity operator as the sum of two proximity operators. Namely, let φ : X → R {\displaystyle \varphi :{\mathcal {X}}\to \mathbb {R} } be a lower semicontinuous, convex function on a vector space X {\displaystyle {\mathcal {X}}} . We define its Fenchel conjugate φ ∗ : X → R {\displaystyle \varphi ^{}:{\mathcal {X}}\to \mathbb {R} } to be the function φ ∗ ( u ) := sup x ∈ X ⟨ x , u ⟩ − φ ( x ) . {\displaystyle \varphi ^{}(u):=\sup _{x\in {\mathcal {X}}}\langle x,u\rangle -\varphi (x).} The general form of Moreau's decomposition states that for any x ∈ X {\displaystyle x\in {\mathcal {X}}} and any γ > 0 {\displaystyle \gamma >0} that x = prox γ φ ⁡ ( x ) + γ prox φ ∗ / γ ⁡ ( x / γ ) , {\displaystyle x=\operatorname {prox} _{\gamma \varphi }(x)+\gamma \operatorname {prox} _{\varphi ^{}/\gamma }(x/\gamma ),} which for γ = 1 {\displaystyle \gamma =1} implies that x = prox φ ⁡ ( x ) + prox φ ∗ ⁡ ( x ) {\displaystyle x=\operatorname {prox} _{\varphi }(x)+\operatorname {prox} _{\varphi ^{}}(x)} . The Moreau decomposition can be seen to be a generalization of the usual orthogonal decomposition of a vector space, analogous with the fact that proximity operators are generalizations of projections. In certain situations it may be easier to compute the proximity operator for the conjugate φ ∗ {\displaystyle \varphi ^{}} instead of the function φ {\displaystyle \varphi } , and therefore the Moreau decomposition can be applied. This is the case for group lasso. == Lasso regularization == Consider the regularized empirical risk minimization problem with square loss and with the ℓ 1 {\displaystyle \ell _{1}} norm as the regularization penalty: min w ∈ R d 1 n ∑ i = 1 n ( y i − ⟨ w , x i ⟩ ) 2 + λ ‖ w ‖ 1 , {\displaystyle \min _{w\in \mathbb {R} ^{d}}{\frac {1}{n}}\sum _{i=1}^{n}(y_{i}-\langle w,x_{i}\rangle )^{2}+\lambda \|w\|_{1},} where x i ∈ R d and y i ∈ R . {\displaystyle x_{i}\in \mathbb {R} ^{d}{\text{ and }}y_{i}\in \mathbb {R} .} The ℓ 1 {\displaystyle \ell _{1}} regularization problem is sometimes referred to as lasso (least absolute shrinkage and selection operator). Such ℓ 1 {\displaystyle \ell _{1}} regularization problems are interesting because they induce sparse solutions, that is, solutions w {\displaystyle w} to the minimization problem have relatively few nonzero components. Lasso can be seen to be a convex relaxation of the non-convex problem min w ∈ R d 1 n ∑ i = 1 n ( y i − ⟨ w , x i ⟩ ) 2 + λ ‖ w ‖ 0 , {\displaystyle \min _{w\in \mathbb {R} ^{d}}{\frac {1}{n}}\sum _{i=1}^{n}(y_{i}-\langle w,x_{i}\rangle )^{2}+\lambda \|w\|_{0},} where ‖ w ‖ 0 {\displaystyle \|w\|_{0}} denotes the ℓ 0 {\displaystyle \ell _{0}} "norm", which is the number of nonzero entries of the vector w {\displaystyle w} . Sparse solutions are of particular interest in learning theory for interpretability of results: a sparse solution can identify a small number of important factors. === Solving for L1 proximity operator === For simplicity we restrict our attention to the problem where λ = 1 {\displaystyle \lambda =1} . To solve the problem min w ∈ R d 1 n ∑ i = 1 n ( y i − ⟨ w , x i ⟩ ) 2 + ‖ w ‖ 1 , {\displaystyle \min _{w\in \mathbb {R} ^{d}}{\frac {1}{n}}\sum _{i=1}^{n}(y_{i}-\langle w,x_{i}\rangle )^{2}+\|w\|_{1},} we consider our objective function in two parts: a convex, differentiable term F ( w ) = 1 n ∑ i = 1 n ( y i − ⟨ w , x i ⟩ ) 2 {\displaystyle F(w)={\frac {1}{n}}\sum _{i=1}^{n}(y_{i}-\langle w,x_{i}\rangle )^{2}} and a convex function R ( w ) = ‖ w ‖ 1 {\displaystyle R(w)=\|w\|_{1}} . Note that R {\displaystyle R} is not strictly convex. Let us compute the proximity operator for R ( w ) {\displaystyle R(w)} . First we find an alternative characterization of the proximity operator prox R ⁡ ( x ) {\displaystyle \operatorname {prox} _{R}(x)} as follows: u = prox R ⁡ ( x ) ⟺ 0 ∈ ∂ ( R ( u ) + 1 2 ‖ u − x ‖ 2 2 ) ⟺ 0 ∈ ∂ R ( u ) + u − x ⟺ x − u ∈ ∂ R ( u ) . {\displaystyle {\begin{aligned}u=\operatorname {prox} _{R}(x)\iff &0\in \partial \left(R(u)+{\frac {1}{2}}\|u-x\|_{2}^{2}\right)\\\iff &0\in \partial R(u)+u-x\\\iff &x-u\in \partial R(u).\end{aligned}}} For R ( w ) = ‖ w ‖ 1 {\displaystyle R(w)=\|w\|_{1}} it is easy to compute ∂ R ( w ) {\displaystyle \partial R(w)} : the i {\displaystyle i} th entry of ∂ R ( w ) {\displaystyle \partial R(w)} is precisely ∂ | w i | = { 1 , w i > 0 − 1 , w i < 0 [ − 1 , 1 ] , w i = 0. {\displaystyle \partial |w_{i}|={\begin{cases}1,&w_{i}>0\\-1,&w_{i}<0\\\left[-1,1\right],&w_{i}=0.\end{cases}}} Using the recharacterization of the proximity operator given above, for the choice of R ( w ) = ‖ w ‖ 1 {\displaystyle R(w)=\|w\|_{1}} and γ > 0 {\displaystyle \gamma >0} we have that prox γ R ⁡ ( x ) {\displaystyle \operatorname {prox} _{\gamma R}(x)} is defined entrywise by ( prox γ R ⁡ ( x ) ) i = { x i − γ , x i > γ 0 , | x i | ≤ γ x i + γ , x i < − γ , {\displaystyle \left(\operatorname {prox} _{\gamma R}(x)\right)_{i}={\begin{cases}x_{i}-\gamma ,&x_{i}>\gamma \\0,&|x_{i}|\leq \gamma \\x_{i}+\gamma ,&x_{i}<-\gamma ,\end{cases}}} which is known as the soft thresholding operator S γ ( x ) = prox γ ‖ ⋅ ‖ 1 ⁡ ( x ) {\displaystyle S_{\gamma }(x)=\operatorname {prox} _{\gamma \|\cdot \|_{1}}(x)} . === Fixed point iterative schemes === To finally solve the lasso problem we consider the fixed point equation shown earlier: x ∗ = prox γ R ⁡ ( x ∗ − γ ∇ F ( x ∗ ) ) . {\displaystyle x^{}=\operatorname {prox} _{\gamma R}\left(x^{}-\gamma \nabla F(x^{})\right).} Given that we have computed the form of the proximity operator explicitly, then we can define a standard fixed point iteration procedure. Namely, fix some initial w 0 ∈ R d {\displaystyle w^{0}\in \mathbb {R} ^{d}} , and for k = 1 , 2 , … {\displaystyle k=1,2,\ldots } define w k + 1 = S γ ( w k − γ ∇ F ( w k ) ) . {\displaystyle w^{k+1}=S_{\gamma }\left(w^{k}-\gamma \nabla F\l

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  • Recraft

    Recraft

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

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  • Flux (text-to-image model)

    Flux (text-to-image model)

    Flux (also known as FLUX.1 and FLUX.2) is a text-to-image model developed by Black Forest Labs (BFL), based in Freiburg im Breisgau, Germany. Black Forest Labs was founded by former employees of Stability AI. As with other text-to-image models, Flux generates images from natural language descriptions, called prompts. == History == Black Forest Labs (BFL) was founded in 2024 by Robin Rombach, Andreas Blattmann, and Patrick Esser, former employees of Stability AI. All three founders had previously researched the artificial intelligence image generation at LMU Munich as research assistants under Björn Ommer. They published their research results on image generation in 2022, which resulted in creation of Stable Diffusion. Investors in BFL included venture capital firm Andreessen Horowitz, Brendan Iribe, Michael Ovitz, Garry Tan, and Vladlen Koltun. The company received an initial investment of US$31 million. In August 2024, Flux was integrated into the Grok chatbot developed by xAI and made available as part of premium feature on X (formerly Twitter). Grok later switched to its own text-to-image model Aurora in December 2024. On 18 November 2024, Mistral AI announced that its Le Chat chatbot had integrated Flux Pro as its image generation model. On 21 November 2024, BFL announced the release of Flux.1 Tools, a suite of editing tools designed to be used on top of existing Flux models. The tools consisting of Flux.1 Fill for inpainting and outpainting, Flux.1 Depth for control based on extracted depth map of input images and prompts, Flux.1 Canny for control based on extracted canny edges of input images and prompts, and Flux.1 Redux for mixing existing input images and prompts. Each tools are available in both Pro and Dev models. In January 2025, BFL announced a partnership with Nvidia for inclusion of Flux models as foundation models for Nvidia's Blackwell microarchitecture. The company also announced the release of Flux Pro Finetuning API, designed for customisation and fine-tuning of Flux-generated images and a partnership with German media company Hubert Burda Media for usage of Flux Pro as part of content creation. On 29 May 2025, BFL announced Flux.1 Kontext, a suite of models that enable in-context image generation and editing, allowing users to prompt with both text and images. Alongside this, BFL Playground, an interface for testing Flux models was released. On 31 July 2025, BFL announced Flux.1 Krea Dev, a model developed in collaboration with Krea AI that trained to achieve better performance, more varied aesthetics, and better realism compared to existing text-to-image models. In September 2025, Adobe Inc. announced that Photoshop (beta) users can use Flux.1 Kontext Pro as a model for its generative fill tool. BFL collaborated with Meta on Vibes, a video-generation app. On 25 November 2025, BFL announced the release of Flux.2 model series, consisting of Pro, Flex, Dev, and Apache 2.0-licensed Klein (meaning Little or Small in German language) models along with Flux.2 variational autoencoder which also released as open-source software under Apache 2.0 licence. This series claimed improvements for image reference, photorealism, typography, and prompt understanding. == Models == Flux is a series of text-to-image models. The models are based on rectified flow transformer blocks scaled to 12 billion parameters. Flux.1 models were released under different licences with Schnell (meaning Fast or Quick in German language) released as open-source software under Apache License, Dev released as source-available software under a non-commercial licence (users can obtain a self-serving commercial licence for Dev from BFL), and Pro released as proprietary software and only available as API that can be licensed by third-party users. Users retained the ownership of resulting output regardless of models used. An improved flagship model, Flux 1.1 Pro was released on 2 October 2024. Two additional modes were added on 6 November, Ultra which can generate image at four times higher resolution and up to 4 megapixel without affecting generation speed and Raw which can generate hyper-realistic image in the style of candid photography. Flux.1 Kontext is a series with in-context image generation and editing capabilities. It is available in Max, Pro, and Dev models. Max is the highest quality model and can be used to iteratively modify an existing image by using prompt while Pro is optimized to balance quality and speed of generation. Dev is an open-weight model released under non-commercial license, same as Flux.1 Dev. Flux.2 models are based on latent flow matching architecture with Mistral AI's Mistral-3 model (24 billion parameters) for its vision-language model. As with Flux.1, Flux.2 models were also released under different licences with Klein released as open-source software under Apache License, Dev released as source-available software under a non-commercial licence (users can obtain a self-serving commercial licence from BFL), and both Flex and Pro released as proprietary software and only available as API. The models can be used either online or locally by using generative AI user interfaces such as ComfyUI, Recraft Studio and Stable Diffusion WebUI Forge (a fork of Automatic1111 WebUI). Related to Flux is a text-to-video model by Black Forest Labs, under development as of February 2026. == Reception == According to a test performed by Ars Technica, the outputs generated by Flux.1 Dev and Flux.1 Pro are comparable with DALL-E 3 in terms of prompt fidelity, with the photorealism closely matched Midjourney 6 and generated human hands with more consistency over previous models such as Stable Diffusion XL. Flux has been criticised for its very realistic generated images. According to media reports, depictions ranged from an image of Donald Trump posing with guns to disturbing scenes, which triggered discussions about ethical implications of Flux models. After the release of the model, social media platform X was flooded with Flux-generated images. Black Forest Labs has not provided exact details of the data used to train the model. Ars Technica suspected that Flux is based on a large, unauthorised collection of images scraped from the internet, a controversial practice with potential legal consequences. According to a test performed by Japanese technology news website Gigazine for Flux.1 Kontext, the model series has a good understanding of the English language and can easily transfer style of the image from photorealistic into anime-style according to prompts given by the user; however, its ability to understand Japanese is quite poor. == Availability == In addition to the official BFL Playground on its website, the Flux models are also widely available through various third-party platforms for creative and professional use. These include repositories on platforms like Hugging Face and Replicate. == Further readings == FLUX.1 Kontext: Flow Matching for In-Context Image Generation and Editing in Latent Space (29 May 2025) FLUX.2: Analyzing and Enhancing the Latent Space of FLUX – Representation Comparison (25 November 2025)

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  • 17776

    17776

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

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  • Steerable filter

    Steerable filter

    In image processing, a steerable filter is an orientation-selective filter that can be computationally rotated to any direction. Rather than designing a new filter for each orientation, a steerable filter is synthesized from a linear combination of a small, fixed set of "basis filters". This approach is efficient and is widely used for tasks that involve directionality, such as edge detection, texture analysis, and shape-from-shading. The principle of steerability has been generalized in deep learning to create equivariant neural networks, which can recognize features in data regardless of their orientation or position. == Example == A common example of a steerable filter is the first derivative of a two-dimensional Gaussian function. This filter responds strongly to oriented image features like edges. It is constructed from two basis filters: the partial derivative of the Gaussian with respect to the horizontal direction ( x {\displaystyle x} ) and the vertical direction ( y {\displaystyle y} ). If G ( x , y ) {\displaystyle G(x,y)} is the Gaussian function, and G x {\displaystyle G_{x}} and G y {\displaystyle G_{y}} are its partial derivatives (which measure the rate of change in the x {\displaystyle x} and y {\displaystyle y} directions, respectively), a new filter G θ {\displaystyle G_{\theta }} oriented at an angle θ {\displaystyle \theta } can be synthesized with the formula: G θ = cos ⁡ ( θ ) G x + sin ⁡ ( θ ) G y {\displaystyle G_{\theta }=\cos(\theta )G_{x}+\sin(\theta )G_{y}} Here, the basis filters G x {\displaystyle G_{x}} and G y {\displaystyle G_{y}} are weighted by cos ⁡ ( θ ) {\displaystyle \cos(\theta )} and sin ⁡ ( θ ) {\displaystyle \sin(\theta )} to "steer" the filter's sensitivity to the desired orientation. This is equivalent to taking the dot product of the direction vector ( cos ⁡ θ , sin ⁡ θ ) {\displaystyle (\cos \theta ,\sin \theta )} with the filter's gradient, ( G x , G y ) {\displaystyle (G_{x},G_{y})} . == Generalization in deep learning: Equivariant neural networks == The concept of steerability is foundational to equivariant neural networks, a class of models in deep learning designed to understand symmetries in data. A network is considered equivariant to a transformation (like a rotation) if transforming the input and then passing it through the network produces the same result as passing the input through the network first and then transforming the output. Formally, for a transformation T {\displaystyle T} and a network f {\displaystyle f} , this property is defined as f ( T ( input ) ) = T ( f ( input ) ) {\displaystyle f(T({\text{input}}))=T(f({\text{input}}))} . This built-in understanding of geometry makes models more data-efficient. For example, a network equivariant to rotation does not need to be shown an object in multiple orientations to learn to recognize it; it inherently understands that a rotated object is still the same object. This leads to better generalization and performance, particularly in scientific applications. === Mathematical foundation === Equivariant neural networks use principles from group theory to create operations that respect geometric symmetries, such as the SO(3) group for 3D rotations or the E(3) group for rotations and translations. Instead of learning standard filter kernels, these networks learn how to combine a fixed set of basis kernels. These basis functions are chosen so that they have well-defined behaviors under transformation groups. Spherical harmonics are frequently used as basis functions because they form a complete set of functions that behave predictably under rotation, making them ideal for creating steerable 3D kernels. Features within the network are treated as geometric tensors, which are mathematical objects (like scalars or vectors) that are "typed" by their behavior under transformations. These types correspond to the irreducible representations (irreps) of the group. The tensor product is the fundamental operation used to combine these typed features in a way that preserves equivariance, guaranteeing that the network as a whole respects the desired symmetry. Frameworks like e3nn simplify the construction of these networks by automating the complex mathematics of irreducible representations and tensor products. === Applications === Steerable and equivariant models are highly effective for problems with inherent geometric symmetries. Examples include: Protein structure analysis: SE(3)-equivariant networks can process 3D molecular structures while respecting their rotational and translational symmetries. 3D Point cloud processing: Rotation-equivariant filters built from steerable spherical functions can perform tasks like 3D shape classification. Computational chemistry: E(3)-equivariant graph neural networks are used to model interatomic potentials for molecular dynamics simulations, creating highly accurate and data-efficient models of physical systems.

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  • Woken Furies

    Woken Furies

    Woken Furies (2005) is a science fiction novel by British writer Richard Morgan. It is the third novel featuring the anti-hero Takeshi Kovacs and is the sequel to Broken Angels. This addition to the series casts light upon Kovacs' early life providing information on his post-envoy activities. Morgan's official website and interviews suggest that Woken Furies could be the last Kovacs novel, although in 2018 (before Netflix cancelled the show) Morgan stated that the Netflix adaptation has "kind of woken it all up again" after all these years, making him possibly reconsider being done with Kovacs. == Plot == Takeshi Kovacs finds himself in a new "sleeve," or human body, back on his home planet of Harlan's World. He is on the run after making numerous attacks against the Knights of the New Revelation, an extremist religious order responsible for the death of his lost love and her daughter. Because she had violated tenets about resleeving, her executioners dropped her and her daughter's cortical stacks in the sea, effectively preventing them from being resleeved (into new bodies). While trying to secure passage after his most recent attack, Kovacs saves a woman named Sylvie from a group of religious zealots. In return, she allows him to take refuge with her mercenary "deCom" crew as they head out to decommission sentient military hardware that has run amok on the island of New Hokkaido (AKA New Hok). Sylvie is the "command head" of her crew, co-ordinating them during missions by using her biologically implanted circuitry and software. During one of these missions, Sylvie collapses, regains consciousness, and Kovacs realizes that her personality seems to have been replaced by that of long-dead revolutionary leader Quellcrist Falconer. Harlan's World is surrounded by automated "orbitals" which target flying objects, such as vehicles, with high-energy beam weapons known as "angelfire"; Falconer is believed to have died without a backup of her cortical stack when her getaway aircraft was destroyed by angelfire 300 years prior. When Sylvie's crew returns from New Hok, they discover a younger version of Kovacs has been illegally duplicated into a different body (AKA "double sleeved") and is hunting them on behalf of the Harlan family that rules the planet. Most of Sylvie's crew is killed and Sylvie/Quellcrist is captured. Kovacs schemes to rescue Sylvie by approaching old criminal associates of his, the Little Blue Bugs. The Little Blue Bugs mount a semi-successful attack on a Harlan fortress and rescue Sylvie/Quellcrist. Hiding from Harlan forces in a floating base, the neo-Quellists are sold out by its owner and recaptured. An assault by Kovacs and a single UN Envoy on the base ends badly when Kovacs is betrayed by the Envoy who was actually embedded with several colleagues. However, Sylvie/Quellcrist has established a connection with the orbitals and calls down angelfire, eliminating their captors. The younger Kovacs is killed in the aftermath. Sylvie explains that angelfire is a destructive recording device. Thus, in destroying Quellcrist and the helicopter carrying her, it copied her. When the technology of the deCom crews advanced far enough, her persona was able to insert itself into Sylvie's implants and co-exist in her body. The novel ends with Kovacs, Virginia Vidaura, and Sylvie/Quellcrist waiting to see if they can use Sylvie/Quellcrist's newfound connection to the orbitals and the expansion of a long-dormant genetic virus to turn the population against the ruling oligarchy.

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  • KitKat (cat)

    KitKat (cat)

    KitKat was a bodega cat from the Mission District of San Francisco who was killed by a Waymo car on October 27, 2025. Locals built altars and the death has raised comments about the safety of self-driving cars. == Life == Mike Zeidan, the owner of Randa's Market, adopted KitKat as a stray to help keep rodents out of his store. KitKat lived in Randa's Market for six years and was well-loved by the neighborhood, including an appearance on a shop cats map that went viral in 2022 as a "particularly friendly cat". After KitKat arrived at the bodega, customers were said to come more often, and regularly brought the cat food and gifts. == Death == At around 11:40 pm on October 27, 2025, witnesses saw KitKat sitting in front of a stopped Waymo car for seven seconds. He walked under the car as the car pulled out, and the right rear tire ran over the back half of his body. A bartender who was taking a cigarette break used a sandwich board sign as a stretcher and took KitKat to an emergency animal clinic. An hour later, KitKat was pronounced dead. Waymo confirmed that the cat was killed by one of its vehicles on October 30. Surveillance footage of the incident was released in December. From Waymo's report to the National Highway Traffic Safety Administration (NHTSA): The Waymo AV was stopped next to the curb for a passenger pickup facing east on 16th Street. As the passengers were boarding the Waymo AV, a cat approached the Waymo AV from the southern sidewalk of 16th Street and sat in the roadway partially under the front right corner of the Waymo AV. A pedestrian approached the Waymo AV from the east on the southern sidewalk of 16th Street and began crouching near the front of the Waymo AV, stepping partially into the roadway, appearing to reach for the cat. As they did so, the cat moved farther from the sidewalk under the Waymo AV and the pedestrian stepped back onto the sidewalk. The Waymo AV then departed the pickup location and the rear right tire made contact with the cat. At the time of impact, the Waymo AV's Level 4 ADS was engaged in autonomous mode. Waymo later received notice that the cat did not survive. The passengers in the Waymo AV did not have seatbelts fastened at the time, having just boarded the Waymo AV. Prior to KitKat's death, the NHTSA had logged 14 collisions between Waymo cars and animals, of which 5 were confirmed fatalities. == Aftermath == After KitKat's death, an altar was created outside Randa's Market. People left flowers, candles, cat food, written notes, and Kit Kat candy bars in the cat's honor. A city worker took down the memorial for fire safety reasons, but neighbors built it again. Local supervisor Jackie Fielder held a rally called "Justice for KitKat" in support of a non-binding San Francisco resolution to shift decision-making about the operation of self-driving cars from the state to individual counties. Critics say that the resolution is performative because it is non-binding, that local control would make autonomous vehicle operation impractical, and that Waymo is still far less dangerous to animals than human drivers. Elon Musk commented that "many pets will be saved by autonomy". There are multiple meme coins inspired by KitKat.

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  • Kórsafn

    Kórsafn

    Kórsafn (Icelandic: Choral archives) is a sound installation by Icelandic artist Björk. Developed in collaboration with the technology company Microsoft, audio design firm Listen and architecture office firm Atelier Ace, the installation was designed for the lobby of the Sister City Hotel in New York City, United States, and launched in 2020. Elaborating 17 years of choral recording taken from Björk discography, Kórsafn consisted of an evolving music composition that uses an artificial intelligence model that responds to real-time weather data, creating a continuously shifting auditory experience. == Background and concept == In 2018, Björk announced her tenth concert tour Cornucopia, which debuted as a residency show at The Shed arts center. Before the start of the show, it was confirmed she would be accompanied by The Hamrahlid Choir. In 2019, while she was performing at The Shed, Björk stayed alongside the choir at the Sister City Hotel in New York City, where they would rehearse for the performances. While there, the Atelier Ace, which owns the Sister City boutique hotels, asked her to create a sound installation for the lobby. This was the second work commissioned by the hotel, a year after a similar piece by Julianna Barwick was featured in the lobby. Kórsafn is formed from two Icelandic words, "kór" ("choral") and "safn" ("archives"). The installation features recordings of Björk’s choral works from the previous 17 years, including compositions taken from her albums Medúlla (2004) and Biophilia (2011). The artificial intelligence system was developed in collaboration with Microsoft. The software processes data gathered from sensors and by a camera placed on the roof of the Sister City Hotel building and by a barometer. It then uses algorithms to determine how the choral elements are layered, pitched, and mixed in real time. The AI generate variations in real time by reacting to the passage of flocks, clouds, airplanes and changes in pressure. Data collected from sensors on the hotel’s rooftop include wind speed, cloud cover, and precipitation levels. These inputs influence the tonal quality, volume, and rhythmic patterns of the soundscape. The sound is played through hidden speakers in the hotel's lobby, blending with the architectural environment to create an immersive experience for guests. The AI system learns over time from the changing of the seasons and weather constantly evolving the sound - keeping in harmony with the sky. Björk described the project as an "AI tango," expressing curiosity about the interplay between her choral compositions and the AI's interpretations of environmental data. She noted the significance of the Hudson Valley's rich bird migrations, which influence the generative aspects of the soundscape. Due to the COVID-19 pandemic, the hotel closed while the installation was ongoing, making a version of the sound piece available online. == Reception == Kórsafn was positively reviewed. It's Nice That author Jenny Brewer described the piece as "a high-tech alternative to the smooth jazz that usually whistles through hotel lobbies". Writing for CNET, Scott Stein observed that it "is lovely and low-key, and honestly, it just blends into the background. It's nothing wild, but it fits the hotel", adding that "after an hour, it didn't get annoying, or too repetitive". The installation garnered several recognitions. It was nominated in the Fast Company's 2020 Innovation by Design Awards in the Hospitality category. It received three Clio Awards silver prizes, in the Use of Music in Experience/Activation, Sound Design and Emerging Technology categories.

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  • AI alignment

    AI alignment

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

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  • 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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  • Pommerman Challenge

    Pommerman Challenge

    The Pommerman Challenge is a multi-agent game to test autonomous artificial intelligence systems. == Game structure == Two-agent team compete against each other on an 11 x 11 board. Each agent can observe only part of the board, and the agents cannot communicate. The goal is to knock down the opponents. Agents place explosives to destroy walls and collect power-ups that appear from those walls, while avoiding death. Game objects can move unpredictably or be moved by an agent. == Play == The game involves real-time decision making. Agents must choose moves in about .1 seconds. == Algorithms == The real-time requirement limits the use of compute-heavy techniques such as Monte Carlo tree search. The branching factor at each move can be as large as 1,296, because all four agents act in each step, choosing among six possibilities. The agents choose by accounting for explosions, which have lifetimes of 10 steps. Explosions derail tree search techniques, as searches with less than 10 levels ignore explosions while deeper searches consider too many choices (given the branching factor). A hybrid approach uses a limited-depth tree search followed by exploring a deterministic/pessimistic scenario. Limiting the depth keeps the search tree small. The deterministic approach can predict far in the future, by omitting branching. "Good" actions are often those that perform well under pessimistic scenarios, particularly if safety is important. Identifying the worst sequence of positions for an object can suggest where to move it. After generating pessimistic scenarios, the agent quantifies the survivability of each move, notionally the number of positions in which the agent can then remain safely (without encountering other agents). == Competitions == 3 competitions were organized with slightly changing rules during 2018–2019. === Online - FFA === This round was a warm-up online event, where each competitor controlled only one agent. Results: 1st: Agent47Agent by Yichen Gong 2nd: aiKiller by Márton Görög === NeurIPS 2018 - Team === The first Pommerman competition with in-person finals. Results: 1st: hakozakijunctions by Toshihiro Takahashi 2nd: eisenach by Márton Görög 3rd: dypm by Takayuki Osogami The 3 best performing solutions used online tree search. === NeurIPS 2019 - Team Radio === The second competition with in-person finals improved communication between teammate agents. Results: 1st: Márton Görög 2nd: Paul Jasek 3rd: Yifan Zhang

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  • Refik Anadol

    Refik Anadol

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

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  • Scene statistics

    Scene statistics

    Scene statistics is a discipline within the field of perception. It is concerned with the statistical regularities related to scenes. It is based on the premise that a perceptual system is designed to interpret scenes. Biological perceptual systems have evolved in response to physical properties of natural environments. Therefore natural scenes receive a great deal of attention. Natural scene statistics are useful for defining the behavior of an ideal observer in a natural task, typically by incorporating signal detection theory, information theory or estimation theory. == Within-domain versus across-domain == Geisler (2008) distinguishes between four kinds of domains: (1) Physical environments (2) Images/Scenes (3) Neural responses and (4) Behavior. Within the domain of images/scenes one can study the characteristics of information related to redundancy and efficient coding. Across-domain statistics determine how an autonomous system should make inferences about its environment, process information and control its behavior. To study these statistics it is necessary to sample or register information in multiple domains simultaneously. == Applications == === Prediction of picture and video quality === One of the most successful applications of Natural Scenes Statistics Models has been perceptual picture and video quality prediction. For example, the Visual Information Fidelity (VIF) algorithm, which is used to measure the degree of distortion of pictures and videos, is used extensively by the image and video processing communities to assess perceptual quality. This is often after processing, such as compression, which can degrade the appearance of a visual signal. The premise is that the scene statistics are changed by distortion and that the visual system is sensitive to the changes in the scene statistics. VIF is heavily used in the streaming television industry. Other popular picture quality models that use natural scene statistics include BRISQUE and NIQE, both of which are no-reference since they do not require any reference picture to measure quality against.

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  • House of Suns

    House of Suns

    House of Suns is a 2008 science fiction novel by Welsh author Alastair Reynolds. The novel was shortlisted for the 2009 Arthur C. Clarke Award. == Setting == Approximately six million years in the future, humanity has spread throughout the Milky Way galaxy, which appears devoid of any other organic sentient life. The galaxy is populated by numerous civilizations of humans and posthumans of widely varying levels of development. A civilization of sentient robots known as the Machine People coexists peacefully with humanity. Technologies of the era include anti-gravity, inertia damping, force fields, stellar engineering, and stasis fields. Also of note is the "Absence"—the mysterious disappearance of the Andromeda Galaxy. Large-scale human civilizations almost invariably seem to collapse and disappear within a few millennia (a phenomenon referred to as "turnover"), the limits of sub-lightspeed travel making it too difficult to hold interstellar empires together. Consequently, the most powerful entities in the galaxy are the "Lines"—familial organizations made of cloned "shatterlings". The Lines do not inhabit planets, but instead travel through space, holding reunions after they have performed a "circuit" of the galaxy; something that takes about 200,000 years. House of Suns concerns the Gentian Line, also known as the House of Flowers, composed of Abigail Gentian and her 999 clones (or "shatterlings"), male and female: exactly which of the 1,000 shatterlings is the original Abigail Gentian is unknown. The clones and Abigail travel the Milky Way Galaxy, helping young civilizations, collecting knowledge, and experiencing what the universe has to offer. Members of the Gentian Line are named after flowering plants. == Synopsis == The novel is divided into eight parts, with the first chapter of each part taking the form of a narrative flashback to Abigail Gentian's early life (six million years earlier, in the 31st century), before the cloning and the creation of the Gentian Line. Each subsequent chapter is narrated from the first-person perspective of two shatterlings named Campion and Purslane, alternating between them each chapter. Campion and Purslane are in a relationship, which is frowned upon, even punishable, by the Line. The primary storyline begins as Campion and Purslane are roughly fifty years late to the 32nd Gentian reunion. They take a detour to contact a posthuman known as ‘Ateshga’ in hopes of getting a replacement ship for Campion because his is getting old (several million years old). After being tricked by Ateshga, Campion and Purslane manage to turn the tables on him and leave his planet with a being he had been keeping captive, a golden robot called Hesperus. Hesperus is a member of the "Machine People", an advanced civilization of robots, and supposedly the only non-human sentient society in existence. The two shatterlings hope that the rescue of Hesperus will let them off the hook for their lateness, as returning him to his people (who will be at the reunion as guests of other shatterlings) will put the Gentian Line on good terms with the Machine People. However, before reaching the reunion world, Campion and Purslane encounter an emergency distress signal from Fescue, another Gentian shatterling. There was a vicious attack on the reunion world; an ambush in which the majority of the Gentian Line was wiped out. The identity of the responsible party is unknown, but the attackers used the supposedly long-vanished 'Homunculus' weapons – monstrous spacetime-bending weapons that were created ages ago, but were ordered to be destroyed by another Line. Despite Fescue's warning, Campion and Purslane approach the reunion system to look for survivors. They manage to find the remains of a ship with several Gentian members still alive, and rescue them and the four enemy prisoners they had captured. Hesperus, however, is gravely injured in the process by remaining ambushers. The group escapes and make their way to the Gentian backup meeting planet, Neume, in the hope of re-grouping with any other Gentians who may have survived the ambush. Upon reaching Neume, Campion, Purslane and the other shatterlings they rescued are greeted by the few Gentian survivors of the ambush (numbering only in the forties, compared to the hundreds that existed before the ambush). They also meet two members of the Machine People: Cadence and Cascade, guests of another shatterling. During the next few days, the interrogation of the prisoners commences. Another Gentian, Cyphel, is mysteriously murdered, which fuels the Line's concerns that there is a traitor among them. As a way of punishing Campion for transgressions against the Line, Purslane is made to give up her ship, the Silver Wings of Morning (one of the fastest and most powerful in the Line) to Cadence and Cascade, ostensibly so they can return to the Machine People with news of the ambush, in a bid to gain the Line some assistance. Hesperus, still critically wounded following the rescue of the survivors, is taken to the Neumean "Spirit of the Air", an ancient posthuman machine-intelligence, in the hopes that it will fix him. The Spirit takes Hesperus away and returns him some time later, though apparently still not functioning. The robots Cadence and Cascade make preparations to leave on Purslane's ship. They agree to take him aboard and return him to their people, who they promise may be able to help Hesperus. Purslane accompanies them to her ship, where she must be physically present to give the ship order to transfer control over to the robots. On their way to the bridge, Hesperus suddenly springs to life, grabbing Purslane and hiding her while Cadence and Cascade are whisked along to the bridge. Hersperus quickly explains that Cadence and Cascade are actually planning on hijacking the ship. Bewildered by this sudden change of events, Purslane delays in acting, not sure if she should trust Hesperus, before deciding to ask the ship to detain and eject the robots in the bridge. By then, though, it is too late. Cadence and Cascade hack into the ship's computer, taking it over, and take off from Neume with Hesperus and Purslane still aboard. Campion and several other shatterlings immediately launch a pursuit. Together Hesperus and Purslane find a hideout in a smaller ship in the hold of the Silver Wings of Morning. Using information gained from the other two robots and his own memories, Hesperus (who is now an amalgamation of both Hesperus and the Spirit of the Air) has pieced together what is going on: Cadence and Cascade have discovered that the Line was involved in the accidental extermination of a forgotten earlier race of machine people, dubbed the "First Machines". The Commonality (a confederation of the various Lines), horrified and ashamed of this pointless genocide, erased all knowledge of the event from historical records and their own memories. Unfortunately, Campion, in a previous circuit, unwittingly uncovered information pertaining to the extermination. Hesperus believes that the ambush at the reunion was seeking to destroy this evidence before it could spread, carried out by a shadow Line known as the "House of Suns", tasked with maintaining the conspiracy. Cadence and Cascade, on the other hand, are racing for a wormhole which leads to the Andromeda Galaxy, to where the few survivors of the First Machines are revealed to have retreated. They plan to release the First Machines back into the Milky Way, thus effecting a revenge against the Commonality for the genocide. As Campion and the shatterlings are pursuing Purslane's hijacked ship, transmissions from Neume confirm that a shatterling within their midst, Galingale, is the traitor and a secret member of the House of Suns. The shatterlings open fire on both Galingale's and Purslane's ships, and while they manage to capture Galingale, they are unable to stop Purslane's ship. Unable to get within weapons range, Campion pursues Purslane's ship for sixty thousand light years, during which time he and Purslane, on their separate ships, are suspended in "abeyance", a form of temporal slowdown or stasis. Despite efforts to stop the hijacked ship from reaching the concealed wormhole by local civilisations, the robot Cascade succeeds in opening the "stardam" enclosing the wormhole and travelling through it to the Andromeda Galaxy. On board Silver Wings of Morning, Hesperus reveals to Campion that while he managed to destroy Cadence before they could leave the Neume star system, Cascade survived and he and Cascade had engaged in a marathon battle, several thousand years. Hesperus was ultimately victorious, but Cascade has fused the ship controls before his defeat and they are past the point of no return. Campion, now the only shatterling still in pursuit, enters the wormhole after them and emerges in the Andromeda Galaxy, a place apparently devoid of all sentient life. In his search for Purslane and her ship, he travels to a star enca

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  • Galatea (video game)

    Galatea (video game)

    Galatea is an interactive fiction video game by Emily Short featuring a modern rendition of the Greek myth of Galatea, the sculpture of a woman that gained life. It took "Best of Show" in the 2000 IF Art Show and won a XYZZY Award for Best non-player character. The game displays an unusually rich approach to non-player character dialogue and diverts from the typical puzzle-solving in interactive fiction: gameplay consists entirely of interacting with a single character in a single room. Galatea is licensed under the Creative Commons BY-NC-ND 3.0 US license. == Gameplay == Galatea alters the typical interactive fiction game mechanics by concentrating instead on the player's interactions with a single non-player character (NPC), the eponymous Galatea. Much of the interest of the piece derives from the ambiguous nature of the player–NPC dialogue: the form of the conversation and, indeed, the nature of Galatea herself shift depending on the focus the player places on certain aspects of the character's personality. Numerous endings are possible. Gameplay centers around the developing dialogue between Galatea and the player when asking about topics in the previous conversation. Two commands, "think about" and "recap", are provided to keep track of what has already been said; the former is also used to advance the storyline, as the player character draws conclusions about the story as it has unfolded to that point. The game also encourages using sensory commands ("touch", "listen to", "look at"), adding immersion to the experience. == Plot == Galatea is loosely based on the myth of Pygmalion, who carved the sculpture of a woman. In the myth, he falls in love with the statue, named Galatea or Elise in different versions, and the goddess Venus brings her to life. The story begins at the opening of an exhibition of artificial intelligences. The player, alone, discovers Galatea displayed on a pedestal with a small information placard. She is illuminated by a spotlight and wears an emerald dress. Seeing the player about to turn away, Galatea says, "They told me you were coming." From this point, the story may proceed in a number of ways depending on the player's words and actions. === Multilinear interactive fiction === Short describes this as "multilinear interactive fiction": while interactive fiction in general allows the player to find their own way through the story, this leads in most cases to a single ending (or at least a single desired 'correct' ending). With Galatea, Short presents a story with around 70 different endings and hundreds of possible ways of reaching them. The plot is thus designed to appear open-ended with the development of the story entirely dependent on what the player decides to talk or ask about or what actions they choose to perform. Thus the original author and the player share in the creation of a work of fiction. == Development == In interviews, Emily Short has explained that Galatea arose out of her efforts to develop advanced dialog coding for interactive fiction engines. Although code for simple conversational programs like ELIZA have existed since the 1960s, and limited dialog options have existed in interactive fiction since the 1970s, Short's efforts to develop chatterbot-like dialog required her to produce a simple test case scenario to test NPC interaction. Thus the single-room, single-occupant Galatea was a natural result. Development of the game progressed organically with Short engaging in test runs and drafting new dialog options for every conversational dead-end that arose. The game's multiple endings also arose in a similar fashion although Short had intended that there be multiple endings from the start. Although the nature of the game's development as well as its minimalist final form has led to questions regarding whether it is really a game and not just an experimental conversational program, Short has suggested that to her the definition of interactive fiction requires nothing more than a world model and a parser, and "anything you can cook up with those features counts as IF." Short has acknowledged the helpful influence of the close-knit IF community and the "atmosphere in which experimentation is valued" as leading to the success of her works like Galatea. == Reception == Galatea was well received, achieving critical acclaim from interactive fiction reviewers and literary scholars. The game is considered to aspire to a new level of art in interactive fiction, and thereby to have revolutionized the genre, establishing its author, Emily Short, as one of the key figures in the modern interactive fiction scene. Fellow award-winning IF author, Adam Cadre has called Galatea "the best NPC ever"—a view that was echoed by Joystiq's John Bardinelli. Cadre also describes the game as an example of an alternative kind of puzzle where "interactivity comes in deciding where to go, what to see, what to say. Rather than having to open gates along a path, you discover that they're all open at first, but stepping through one causes others to close." Galatea was described in 2007 by Indiegames.com as a "fascinating journey." In a 2009 article, Rock, Paper, Shotgun praised the depth and detail of the game, the complexities of the character design and its "masterful balance between intricacy and simplicity", and "Galatea's emotional turmoil" that is "encoded sweetly into the subtext of what's going on. By simply interacting in a logical manner, you learn more about this character than any cut-scene or info-dump could ever hope to convey." This was reiterated in a 2010 1UP.com article that listed Galatea as #2 in its "Top 5 Introductory Interactive Fiction Games" feature, describing it as intriguingly replayable, and as a "surprisingly rich game for its apparent minimalism". In 2011, PC Gamer highlighted Galatea as an example of the artistic and literary aspects of the interactive fiction genre. The titular character, Galatea, has been compared to the 2007 Portal character GLaDOS due to similarities in the personalities of the characters.

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