AI For Business Ualbany

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  • Digital video effect

    Digital video effect

    Digital video effects (DVEs) are visual effects that provide comprehensive live video image manipulation, in the same form as optical printer effects in film. DVEs differ from standard video switcher effects (often referred to as analog effects) such as wipes or dissolves, in that they deal primarily with resizing, distortion or movement of the image. Modern video switchers often contain internal DVE functionality. Modern DVE devices are incorporated in high-end broadcast video switchers. Early examples of DVE devices found in the broadcast post-production industry include the Ampex Digital Optics (ADO), Quantel DPE-5000, Vital Squeezoom, NEC E-Flex and the Abekas A5x series of DVEs. By 1988, Grass Valley Group caught up with the competition with their Kaleidoscope, which integrated ADO-type effects with their widely used line of broadcast switching gear. DVEs are used by the broadcast television industry in live television production environments like television studios and outside broadcasts. They are commonly used in video post-production.

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  • The Way (novel series)

    The Way (novel series)

    The Way series is a trilogy of science fiction novels and one short story by American author Greg Bear published from 1985 to 1999. The first novel was Eon (1985), followed by a sequel, Eternity and a prequel, Legacy. It also includes The Way of All Ghosts, a short story that falls between Legacy and Eon. == Novels == === Eon === Eon chronicles the appearance and discovery of the Thistledown, and its subsequent effect on humanity. In the early 21st century, the United States and the USSR are on the verge of nuclear war. In that tense political climate, an asteroid appears out of near space after an unusual supernova and settles into an extremely elliptical orbit near Earth orbit. The two nations each try to claim this mysterious object, which appears to be a virtual duplicate of Juno. It is hollow and contains seven vast terraformed chambers. Two of the chambers contain cities long abandoned by human beings who seemed to come from Earth's future. The asteroid is called the Thistledown by its builders. A startling discovery is that it is bigger inside than outside. The seventh chamber appears to stretch into infinity. The human inhabitants of the Thistledown come from an alternate timeline, approximately 1000 years in the future. In their timeline, human civilization was nearly destroyed by the "Death", a calamitous World War involving nuclear weapons. The Death occurred at approximately the same time as the appearance of the Thistledown in the present time. Its presence threatens to cause the Death to occur on the current timeline as well. An expedition is sent down the seemingly infinite seventh chamber (The "Way", as it is known) where it encounters the descendants of humanity. The high technology of this civilization, known as the Hexamon, has control over genetic engineering, human augmentation, and matter itself. The Hexamon includes several alien species who have come to live with humanity's descendants. The Hexamon itself is at war with an alien race known as the Jarts from further down the corridor still. In 2007, CGSociety organised a "CG Challenge" based upon Eon === Eternity === Jarts, politics, and technology make up the second book in the series: Eternity. The Jart religion is based on the preservation of all data, which encompasses all life forms, past and present, and sending that data to the Jarts' future masters, their descendants. === Legacy === In the third book (a prequel, set in the time before Eon), Legacy, soldier Olmy ap Sennon is sent to spy on a group of dissidents who have used the spacetime tunnel of "the Way" (introduced in Eon) to colonize the alien world of Lamarckia, a planet with an ecosystem that learns from its changed environment in a way that resembles Lamarckian evolution. Its plants and animals turn out to actually be parts of continent-sized organisms. === "The Way of All Ghosts" === In the short story "The Way of All Ghosts" soldier Olmy ap Sennon is sent to close a lesion that formed out of a wayward gate into perfection. This story was published in 1999 in Far Horizons. == Fictional history of the Thistledown == Within the universe of The Way, the Thistledown is an asteroid starship built by hollowing out Juno and fitting it with mass-driver (rail gun) engines and thermonuclear drives. Inside the asteroid, seven giant "Chambers" are built, of which two host cities for the inhabitants, while others host machinery and recreation areas. The asteroid is prepared 500 years in the future, as told in Bear's novel Eon, and is engaged on a multi-generational journey to Epsilon Eridani, around which a habitable planet is known to circle. The journey is meant to take 60 years, as the ship can only maintain a velocity of 20% the speed of light. This limitation is removed after the technology of the Thistledown was improved to include inertial dampeners, allowing higher accelerations. Inhabiting the Thistledown are the best and brightest of Earth, who are quite diverse both culturally and politically. The Thistledown's society includes one transcendent genius, Konrad Korzenowski, whose preference for living in the Thistledown as compared with an outer universe, causes him to experiment with closed-geodesic space time in the Seventh Chamber, 20 years into the Thistledown's voyage. The results of his experiments are shattering in the extreme: He creates a unique pocket universe: The Way. == The Way == === Origin === The eponymous Way is an extension of the 7th Chamber, and was formed in the novels using the machinery of the 6th Chamber. This machinery is a selective inertial damper, developed by engineers within the Thistledown with twofold purpose—to permit the Thistledown to accelerate to the limit of its engines (up to 99% the speed of light) and to selectively dampen inertia within the vessel, e.g., water within waterways, high velocity train systems. The inertial dampening machinery within the 6th Chamber is anchored to the structure of the Thistledown, equally spaced around the chamber at the vertices of a regular heptagon. === Creation === At the creation, and rejoining of the Way to the Thistledown, the character Konrad Korzenowski and his engineers designed and 'built' the Way out of the in-folded geodesics of the inertial dampening field of the 6th Chamber machinery. This is described in the books by first considering the inertial dampening field: Within the Thistledown, the field envelops the asteroid, effectively isolating it from the Einsteinian Metrical Frame, permitting relative inertia to be ignored. The Thistledown was, at the time of activation, isolated from its continuum, but only selectively. Its matter and energy anchored it to its continuum and relative time, but its geometry and quantum entanglement had been strained by the inertial dampener, thus making it susceptible to superspace distortions, and therefore it could be affected by them negatively. Korzenowski, having been influenced by the earlier work of Vazquez on Earth, and in developing her work within the Thistledown, planned a radical extension of the inertial field of the 6th Chamber - effectively extending the field away to an infinite extent within the 7th Chamber. In order to do this effectively, he and his engineers modified a set of semi-sentient field calibration tools to build the first Clavicles. Unlike the field calibration tools from which they were descended, the Clavicles possessed the ability not only to manipulate the field, but extend it as an extension of the will of the operator. Already radical enough, Korzenowski and his team went further. By extending the field of the 6th Chamber from within the 7th Chamber of the Thistledown, they could then directly access what Vasquez had calculated within her own work—alternate world lines as non-gravity bent geodesics of superspace. Korzenowski thus 'felt' superspace within the 7th Chamber, selecting the infinite selection of possible alternate pocket universes accessible by the Clavicle to form, as a sheer act of will, the Way from his designs and his vision. The resulting structure was constructed, not of matter, but of previously in-folded superspace vectors now infinitely extended. (in the manner of Schwarzschild folded geometry, or of an asymptotic curve.) The Way was thus opened. The Way's geometry also gave rise to the Flaw - as superspace geometry of the field boundary was extended infinitely, so the folded geodesics of the field unfold in the geometric centre of the Way to form a singularity. This singularity, the Flaw, rests within the Way's plasma tube (which in turn is sustained by the Flaw). The Flaw 'produces' gravity by actively repulsing matter away from itself in an acceleration at the square of the distance away from itself. In addition, any object encircling the Flaw, and then exerting pressure against it, experiences this pressure as a translation force along the Flaw's length perpendicular to the direction of force. The motion thus induced is controllable by the angle at which an annular ring enclosure is pressed against the Flaw. The same spatial transform also can be used to turn tip turbines in order to generate electricity. The Flaw permits a violation of the First Law of Thermodynamics, therefore defining the Way as a perpetual motion machine of the First Order, making energy out of nothing. === Early history === The Way, as formed, was described by Bear as being in vacuum and did not consist of matter within its infinite length. Due to extremely slight ambiguity involved in its creation, the synchronicity between time within the Way, and within the Thistledown, was not exact. Thus, the Engineers spend two decades working to correct these faults using the Clavicles to manipulate the junction between Way and Thistledown. During this period, ambition led Korzenowksi to use the clavicle to open the first exploratory gate within the way, leading to the universe of the Jarts. Though the gate to Jart world was closed, the advanced Jarts neve

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  • Iron Man 2020 (event)

    Iron Man 2020 (event)

    "Iron Man 2020" is a storyline published by Marvel Comics in 2020 which follows the character Arno Stark as he attempts to take over Stark Industries and the mantle of his estranged brother Tony Stark (Iron Man). The crossover characters of two different brands meeting up in one storyline received mixed reviews from critics. == Publication history == Marvel Comics released the teaser for the event at New York Comic Con in November 2019. It was also alluded to in December 2019's Incoming! In the original checklist released for the event, 2020 Force Works was originally titled Force Works 2020, while 2020 Machine Man was previously named Machine Man 2020, and so on. Additionally, 2020 Wolverine was going to be called Weapon.EXE 2020. The publication of this event was intended to span from January to June 2020, however, due to the COVID-19 pandemic, Diamond Comic Distributors suspended the distribution of new print titles between April 1 and May 27, which also caused digital releases by Marvel Entertainment to be postponed. The rescheduling of the postponed issues to new dates pushed the event's conclusion to August, and certain issues, namely 2020 Force Works #3 and 2020 Ironheart #1–2, were released exclusively in a digital format. == Main plot == Arno Stark wakes up from a nightmare involving the Extinction Entity, a monstrous amalgamation of alien and machine. He dreams that the Extinction Entity is going to come to Earth in a matter of weeks and create an artificial intelligence (A.I.) army to consume humanity. After eating breakfast with duplicates of Howard Stark and Maria Stark, Arno suits up as Iron Man and saves a construction worker from a hostage situation involving several Nick Fury Life Model Decoys, which represent the A.I. army trying to liberate construction robots. Over different news outlets, the media wonders about the whereabouts of Tony Stark, who declared himself as nothing more than a simulation of the real, late Tony Stark. At the A.I. army's base, Machine Man is commanding the robots' moves when Arno appears, having planned for the A.I. army's leader to show himself. Machine Man activates the bomb, forcing Arno to fly it away so it explodes somewhere safe while he escapes. Machine Man reaches the Thirteenth Floor, a dimensional-shunted plane of existence made of solid light, and a haven for robotkind that humans cannot access or comprehend. Aaron meets with the leader of the A.I. army and creator of Thirteenth Floor: Tony Stark -- who is now going by the name Mark One, having embraced his nature as artificial intelligence. Also in the A.I. army are Albert, Awesome Android, H.E.R.B.I.E., Machinesmith, and Quasimodo. The A.I. army continues its efforts to liberate artificial life forms by raiding places where robots are being subjugated. Iron Man intercepts an attack on a Futura Motors testing site by Quasimodo and H.E.R.B.I.E. and manages to recover an Un-Inhibitor allowing him to take control of all A.I.s. On the Thirteenth Floor, Mark One receives a transmission from a mole inside Baintronics -- codenamed Ghost in the Machine --revealing that Arno used the submission code on Jocasta, who received a new body, making her entirely compliant. Stark plans to upload the submission code to the internet to instantly infect robots. With only three hours before the code is transmitted to Stark Unlimited's satellite network, Mark One devises a heist on Bain Tower to tamper with the code before launch. Having discovered the secret behind the Thirteenth Floor, Arno shuts out the A.I. army, uses Jocasta to lure Machine Man away from the tower, infects Machinesmith with the submission code, and confronts Mark One. H.E.R.B.I.E., Awesome Android, and Machinesmith escape from Bain Tower and call for help to every robot in New York City. Mark One is left to fight Iron Man and is defeated. Meanwhile, Sunset Bain confronts and fires Andy Bhang under the accusation of working as a mole inside Stark Unlimited and feeding Bethany Cabe information to relay to the A.I. army. Arno takes Mark One inside Bain Tower to meet Howard and Maria Stark and asks Tony to join him, but he refuses and dismisses his rationale as lunacy. The robotic mob assembled by Machine Man reaches Bain Tower, giving Mark a distraction which allows him to fly off and disable the transmission dish from which Arno intends to broadcast the obedience O.S. to subjugate every robot. Tony manages to stop the upload and make the antenna unusable. In retaliation, Arno fires all of his armor's firepower at Tony as he falls to the ground. Tony Stark's remaining allies escape with his body as Arno attacks the robot protesters. Tony wakes up inside the Thirteenth Floor and is greeted by F.R.I.D.A.Y., who had plucked Tony's consciousness from his body during his fall. In the streets, Arno Stark tracks down Howard and Maria, who die from an illness inherited from Arno. When Sunset Bain objects to Arno creating new bodies for his parents and trying to control people, he reveals she is an A.I., a duplicate of the real Bain whom Arno replaced back when she solicited him to heal a scar on her face. He makes new bodies for Howard and Maria by recreating the Arsenal and Mistress bodies from the eScape. After learning of Arno's new plan, Dr. Shapiro (who is the actual mole) sneaks into a computer and warns F.R.I.D.A.Y. about it. When F.R.I.D.A.Y. relays that only Tony Stark can stop Arno, Tony insists that he is not the real Tony Stark, but is confronted by holographic manifestations of himself in different points of his life, until they all merge into him and he acknowledges that he has always been Tony. As Arno Stark sets off to the Stark Space Station to install his mind-controlling device to enslave all of humanity, Tony Stark's allies assault the Stark Unlimited HQ, confronting Sunset Bain's duplicate and Arno's Iron Legion. Jocasta uploads a submission code to Bain and they place Tony's body inside a bio-pod that restores his body to normalcy, uploads his consciousness back into his body. Using the Thirteenth Floor's access mechanisms, Tony and his allies reach the Stark Space Station from one of the elevators within. Employing his new Virtual Armor, Tony defeats Arno in combat. When Arno prepares to activate his mind-controlling device, the Extinction Entity suddenly appears. Arno ultimately defeats the Extinction Entity by willingly assimilating with it, causing it to explode. The entity is revealed to be a delusion caused by Arno's terminal disease, of which he would die by the end of 2020. Unable to stop Arno, Tony placed him in a simulation where he successfully stopped the entity. Afterwards, Jocasta uses the submission code to force Sunset Bain's duplicate to confess all of Baintronics' crimes, also claiming responsibility for tricking Tony into thinking he was an artificial intelligence and pulling the strings of the A.I. Army, putting an end to the robot revolution. Tony gives up Stark Unlimited to Bhang Robotics and he flies off in a new armor, reasserting himself as Iron Man. == Issues involved == === Main issues === Iron Man 2020 (vol. 2) #1–6 === Tie-In issues === 2020 Force Works #1–3 2020 Iron Age #1 2020 Ironheart #1–2 2020 Machine Man #1–2 2020 Rescue #1–2 2020 iWolverine #1–2 == Critical reception == According to Comic Book Roundup, the entire crossover received an average score of 6.4 out of 10 based on 36 reviews. William Tucker from ButWhyTho Podcast stated "Iron Man 2020 #6 is an initially exciting end to a great event that eventually feels deflated. There is absolutely nothing wrong with the art, Woods has been incredible throughout, but the ending that Slott and Gage chose to round out an epic tale like this left me feeling cold. And while there were loads of enjoyable cameos, their involvement ultimately didn't seem important to the story as a whole. Which is disappointing, as the rest of the event really was a fun and exciting ride." Anthony Wendel from MonkeysFightingRobots wrote "The 2020 event seems like it is taking some big risk, and it doesn't inspire a lot of confidence from the start. Iron Man 2020 #1 has set the stakes and shown some very intense players on both sides of the board. Sadly, if it doesn't unfold just the right way, many may feel cheated about defending the path characters are taking." == Collected editions ==

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  • List of Tesla Autopilot crashes

    List of Tesla Autopilot crashes

    Tesla Autopilot, a Level 2 advanced driver assistance system (ADAS), was released in October 2015 and the first fatal crashes involving the system occurred less than one year later. The fatal crashes attracted attention from news publications and United States government agencies, including the National Transportation Safety Board (NTSB) and National Highway Traffic Safety Administration (NHTSA), which has argued the Tesla Autopilot death rate is higher than the reported estimates. In addition to fatal crashes, there have been many nonfatal ones. Causes behind the incidents include the ADAS failing to recognize other vehicles, insufficient Autopilot driver engagement, and violating the operational design domain. As of October 2025, there have been hundreds of nonfatal incidents involving versions of Autopilot and sixty-five reported fatalities, fifty-four of which NHTSA investigations or expert testimony later verified and two that NHTSA's Office of Defect Investigations determined as happening during the engagement of Full Self-Driving (FSD) after 2022. Collectively, these cases culminated in a general recall in December 2023 of all vehicles equipped with Autopilot, which Tesla claims it resolved by an over-the-air software update. Immediately after closing its investigation in April 2024, NHTSA opened a recall query to determine the effectiveness of the recall. == Notable fatal crashes == === Handan, Hebei, China (January 20, 2016) === On January 20, 2016, Gao Yaning, the driver of a Tesla Model S in Handan, Hebei, China, was killed when his car crashed into a stationary truck. The Tesla was following a car in the far left lane of a multi-lane highway; the car in front moved to the right lane to avoid a truck stopped on the left shoulder, and the Tesla, which the driver's father believes was in Autopilot mode, did not slow before colliding with the stopped truck. According to footage captured by a dashboard camera, the stationary street sweeper on the left side of the expressway partially extended into the far left lane, and the driver did not appear to respond to the unexpected obstacle. Initially, Yaning was held responsible for the collision by local traffic police and, in September 2016, his family filed a lawsuit in July against the Tesla dealer who sold the car. The family's lawyer stated the suit was intended "to let the public know that self-driving technology has some defects. We are hoping Tesla when marketing its products, will be more cautious. Do not just use self-driving as a selling point for young people." Tesla released a statement which said they "have no way of knowing whether or not Autopilot was engaged at the time of the crash" since the car telemetry could not be retrieved remotely due to damage caused by the crash. In 2018, the lawsuit was stalled because telemetry was recorded locally to a SD card and was not able to be given to Tesla, who provided a decoding key to a third party for independent review. Tesla stated that "while the third-party appraisal is not yet complete, we have no reason to believe that Autopilot on this vehicle ever functioned other than as designed." Chinese media later reported that the family sent the information from that card to Tesla, which admitted Autopilot was engaged two minutes before the crash. Tesla since then removed the term "Autopilot" from its Chinese website. === Williston, Florida, US (May 7, 2016) === On May 7, 2016, Tesla driver Joshua Brown was killed in a crash with an 18-wheel tractor-trailer in Williston, Florida. By late June 2016, the NHTSA opened a formal investigation into the fatal autonomous accident, working with the Florida Highway Patrol. According to the NHTSA, preliminary reports indicate the crash occurred when the tractor-trailer made a left turn in front of the 2015 Tesla Model S at an intersection on a non-controlled access highway, and the car failed to apply the brakes. The car continued to travel after passing under the truck's trailer. The Tesla was eastbound in the rightmost lane of US 27, and the westbound tractor-trailer was turning left at the intersection with NE 140th Court, approximately 1 mi (1.6 km) west of Williston; the posted speed limit is 65 mph (105 km/h). The diagnostic log of the Tesla indicated it was traveling at a speed of 74 mi/h (119 km/h) when it collided with and traveled under the trailer, which was not equipped with a side underrun protection system. A reconstruction of the accident estimated the driver would have had approximately 10.4 seconds to detect the truck and take evasive action. The underride collision sheared off the Tesla's greenhouse, destroying everything above the beltline, and caused fatal injuries to the driver. In the approximately nine seconds after colliding with the trailer, the Tesla traveled another 886.5 feet (270.2 m) and came to rest after colliding with two chain-link fences and a utility pole. The NHTSA's preliminary evaluation was opened to examine the design and performance of any automated driving systems in use at the time of the crash, which involves a population of an estimated 25,000 Model S cars. On July 8, 2016, the NHTSA requested Tesla Inc. to hand over to the agency detailed information about the design, operation and testing of its Autopilot technology. The agency also requested details of all design changes and updates to Autopilot since its introduction, and Tesla's planned updates scheduled for the next four months. According to Tesla, "neither autopilot nor the driver noticed the white side of the tractor-trailer against a brightly lit sky, so the brake was not applied." The car attempted to drive full speed under the trailer, "with the bottom of the trailer impacting the windshield of the Model S". Tesla also stated that this was Tesla's first known Autopilot-related death in over 130 million miles (208 million km) driven by its customers while Autopilot was activated. According to Tesla there is a fatality every 94 million miles (150 million km) among all type of vehicles in the U.S. It is estimated that billions of miles will need to be traveled before Tesla Autopilot can claim to be safer than humans with statistical significance. Researchers say that Tesla and others need to release more data on the limitations and performance of automated driving systems if self-driving cars are to become safe and understood enough for mass-market use. The truck's driver told the Associated Press that he could hear a Harry Potter movie playing in the crashed car, and said the car was driving so quickly that "he went so fast through my trailer I didn't see him. [The film] was still playing when he died and snapped a telephone pole a quarter-mile down the road." According to the Florida Highway Patrol, they found in the wreckage an aftermarket portable DVD player. (It is not possible to watch videos on the Model S touchscreen display while the car is moving.) A laptop computer was recovered during the post-crash examination of the wreck, along with an adjustable vehicle laptop mount attached to the front passenger's seat frame. The NHTSA concluded the laptop was probably mounted, and the driver may have been distracted at the time of the crash. In January 2017, the NHTSA Office of Defects Investigations (ODI) released a preliminary evaluation, finding that the driver in the crash had seven seconds to see the truck and identifying no defects in the Autopilot system; the ODI also found that the Tesla car crash rate dropped by 40 percent after Autosteer installation, but later also clarified that it did not assess the effectiveness of this technology or whether it was engaged in its crash rate comparison. The NHTSA Special Crash Investigation team published its report in January 2018. According to the report, for the drive leading up to the crash, the driver engaged Autopilot for 37 minutes and 26 seconds, and the system provided 13 "hands not detected" alerts, to which the driver responded after an average delay of 16 seconds. The report concluded "Regardless of the operational status of the Tesla's ADAS technologies, the driver was still responsible for maintaining ultimate control of the vehicle. All evidence and data gathered concluded that the driver neglected to maintain complete control of the Tesla leading up to the crash." In July 2016, the NTSB announced it had opened a formal investigation into the fatal accident while Autopilot was engaged. The NTSB is an investigative body that only has the power to make policy recommendations. An agency spokesman said, "It's worth taking a look and seeing what we can learn from that event, so that as that automation is more widely introduced we can do it in the safest way possible." The NTSB opens annually about 25 to 30 highway investigations. In September 2017, the NTSB released its report, determining that "the probable cause of the Williston, Florida, crash was the truck driver's failure to yield the right of way to the car, combine

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  • Chasys Photo

    Chasys Photo

    Chasys Photo (previously called Chasys Draw Artist, then Chasys Draw IES) is a suite of applications including a layer-based raster graphics editor with adjustment layers, linked layers, timeline and frame-based animation, icon editing, image stacking and comprehensive plug-in support (Chasys Draw IES Artist), a fast multi-threaded image file converter (Chasys Draw IES Converter) and a fast image viewer (Chasys Draw IES Viewer), with RAW image support in all components. It supports the native file formats of several competitors including Adobe Photoshop, Affinity Photo, Corel Photo-Paint, GIMP, Krita, Paint.NET and PaintShop Pro, and the whole suite is designed to make effective use of multi-core processors, touch-screens and pen-input devices. The software is developed by John Paul Chacha in Nairobi, Kenya. Chasys Draw IES is currently released as freeware, and is available for computers running Microsoft Windows operating systems. It is available in three distributions: the standard distro, a portable version and a Microsoft Store version. The suite is coded in a blend of C, C++ and assembly language. It runs on x86 processors and supports the MMX, SSE, SSE2, S-SSE3, and SSE4.1 instruction sets. == History == Chasys Draw is a project that was started in November 2001 by John Paul Chacha, mostly as a hobby than anything else. The original Chasys Draw was a rather simple bitmap editor done in Visual Basic, a lot like MS Paint save for its ability to do gradients. This application underwent many changes, eventually leading up to Chasys Draw 5. This was the first version to have its own native format, referred to simply as CD5. Major updates to the graphics code in May 2002 resulted in Chasys Draw DTFx (Direct Tool eFfects). The new graphics code being referred to here was actually a miniature bitmap abstraction engine that allowed for fast per-pixel operations and direct image buffer access (much as the DIB engine does for GDI). The engine was named JpDRAW. This version was also done in VB, but was much faster than all the previous versions. The new graphics code allowed for more tools to be implemented than was ever possible before. Later on in 2002, the developer decided to completely abandon VB as a programming platform and moved all the code to C/C++. The move to C/C++ allowed the development of a full-fledged graphics engine which was named JpDRAW2. Chasys was renamed to Chasys Draw Artist, and the CD5 image format was also updated to reflect the new features. By coincidence, the module that implemented the file format was the fifth module to be added, so the format was called Chasys Draw module 5, retaining the .cd5 file extension. First public release In April 2004, Chasys Draw Artist was released to the public via the internet for the first time (version 1.27). The release was done via betanews). In 2005, Chasys Draw underwent major user interface changes as well as internal changes. By December of that year, the project had reached version 1.63. This was the first version to introduce advanced features such as anti-aliasing. It was also the first version with full support for alpha channels. The CD5 image format was also upgraded to version 2, adding advanced compression, full alpha channels, encryption and metadata. Version 1.63 was the first version to win an IEEE (Kenya chapter) award in ICT. The "chazy-glass" interface, from which the all later versions' user interfaces borrowed, was introduced in version 1.80. Chasys Draw Artist adopted photo editing features in version 2.01. Comprehensive tutorials were added and many features were re-designed to make them easier to use. Multi-threading was introduced to accelerate some tasks, such as the improved auto-save engine. Utilities such as a converter and browser were added. Version 2.43 of Chasys Draw Artist was quietly released to the public in late 2007 without any announcements. It featured many fixes to the formal version 2.42, as well as many new features. The quiet release was due to a decision to re-build Chasys Draw Artist from scratch, while still continuing support for the old architecture. An experimental version 2.45 was released only to beta-testers for the purpose of testing new technologies that would be included in the new architecture and was officially withdrawn in May 2008. During the time when the versions 2.43~2.45 were being released, work was underway to create a new layer-based Chasys Draw, which was released as Chasys Draw IES (Image Editing Suite), with the initial version number 2.50. A new multi-layer tag-based image format was created to support layering and blending modes; this was named CD5 v3. The next version introduced animation and multi-resolution support as editing modes, and the next one brought in an unlimited undo engine, new plug-ins and several internal fixes. Further development led to the introduction of super-resolution and image stacking, support for video and video capture, Anti-aliasing, metadata save and restore, a "Pen and Path" tool, physical measurement specification, and a video sequence composer engine. The user interface was enhanced with adaptive scrolling and the auto-save engine was optimized. Some memory management was added for machines with low RAM. By version 2.60, Chasys Draw IES was capable of loading Photoshop's PSD files, as well as load and save JPEG 2000. This version also had shell integration with thumbnails and application-level support for multi-monitor display setups. Metadata was extended to support save, restore and scaling for text formatting and path data. There was also a new palette with exchangeable swatches, loadable from all kinds of palette files. A slicing tool for web and user interface design was also included. A C++ code module output for inline image generation was added, as was a constrained recolor brush. The concept of a "fully anti-aliased work-flow" was introduced in version 2.62, in which all drawing and selection tools were anti-aliased by default. Support for Photoshop plug-ins using Adobe's 8bf format was added in version 2.66, allowing users to utilize thousands of free plug-ins available online. Equivalents for the Pantone palettes (PMS 100 to 814-2x) were added, and the "Just-in-Time" memory compressor significantly reduced the editor's memory requirements. First freeware release Chasys Draw IES went freeware on 6 June 2009. With the coming of the freeware IES, two blending modes (Hue and Chroma) were added. Textures were improved to allow multiple layer-based textures. The TextArt G3 engine was enhanced with LINK metadata, and alpha shift was improved. IES 2.72 added the Luma Wand tool, fixed PNG and TIFF transparency issues, and fixed Smart-Paste transparency. IES 2.74 introduced alpha protection, and 2.75 followed with a new adjustments engine that faced out many effects implemented by the effects engine. The adjustments engine was designed to appeal to experienced image editors. IES 2.76 introduced a new transform engine and the Resizer for IES plug-in supporting multi-core and 18 scaling methods, including customizable windowed Sinc interpolation. IES 2.77 added Greyscale with Tint adjustment, separated the Lock and Click-Thru layer properties, extended the Cloning Brush with three options (this, below and composite) and also extended the Color Picker with multiple point sampling. IES 3.01 brought a new look and many breakthrough tools to the suite. It was geared toward touch and was fully compatible with Windows 7. The toolbox was reorganized, with some tools being grouped and new ones added. Some message boxes were replaced with a new popup system, and the working of the workspace was changed to use a back-blitter, which enabled the addition of new blending modes, Screen and Mask. The printing interface was modified and given accurate proofing. Alpha Function Adjustment was added and a new Anti-Quantization Engine included for all adjustments to remove the need for 16 bits per channel editing. An internal clipboard was created to cater for copying images that are too large for the Windows clipboard, and translucency full-page gradients added. Some new tutorials were added and keyboard shortcuts made configurable. IES 3.05 brought the power of custom full-page gradients to the suite, supporting .ggr, .grd and .gra gradients. New gradient styles were included, as was support for Adobe color tables (.act), palette previewing, point color editing and a highly improved TextArt engine. Digital lightroom IES 3.11 was introduced on 14 December 2009. It was done on a new development base and added a new application, raw-Input. This was a RAW image format processor based on dcraw. This application allowed the use of Chasys Draw IES in processing digital negatives, which are popular with professional photographers. Chasys Draw IES 3.24 was released with a re-designed user interface, powered by a higher performance graphics core and better memory management. A history palette w

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  • Knights of Sidonia

    Knights of Sidonia

    Knights of Sidonia (Japanese: シドニアの騎士, Hepburn: Shidonia no Kishi) is a Japanese manga series written and illustrated by Tsutomu Nihei. It was serialized by Kodansha's seinen manga magazine Monthly Afternoon between April 2009 and September 2015, with its chapters collected in 15 tankōbon volumes. It tells the story of Nagate Tanikaze, an "under-dweller" destined to become a Garde pilot, whose mission is to defend the generation ship Sidonia from a hostile alien species called Gauna. The manga was licensed for English release in North America by Vertical. An anime television series adaptation was produced by Polygon Pictures. The first season aired from April to June 2014; the second between April and June 2015. An anime film sequel titled Knights of Sidonia: Love Woven in the Stars premiered in June 2021. In 2015, Knights of Sidonia received the 39th Kodansha Manga Award in the general category, as well as the 47th Seiun Award in the Best Comic category in 2016. == Plot == === Setting === The story is set in the year 3394, a thousand years after mankind flees from Earth after it was destroyed by a race of shapeshifting aliens called the Gauna (奇居子(ガウナ)), aboard hundreds of colossal spacecraft created from the remains of the planet. One such ship is the Sidonia, which has developed its own human culture closely based on that of Japan where human cloning, asexual reproduction, and human genetic engineering, such as granting humans photosynthesis, are commonplace. It is also revealed that the top echelons of this society have secretly been granted immortality. With a population of over 500,000 people, Sidonia is possibly the last human settlement remaining, as the fates of the other ships are unknown. Little is known about the true nature of the Gauna or their motivation for attacking humanity. At any given time, a Gauna consists of a nearly impenetrable core protected by a dense layer of malleable flesh known as "placenta" (胞衣, ena). Once the ena is shed away and the core is destroyed, the Gauna's body disintegrates. While Sidonia itself is heavily armed with an arsenal of high-output beam cannons and mass cannons including slow but powerful planet-destroying warheads, it is primarily defended by large mechanized weapons called Gardes (衛人, Morito) whose weaponry and mobility is powered by "Higgs particles" (ヘイグス粒子, Heigusu Ryūshi), armed with a high-output beam cannon for long range assaults and a special spear known as "Kabizashi" for close combat. The tip of the kabizashi is made of a rare and little-understood material which has the unique property of being able to destroy a Gauna's core. Later the Gardes are also equipped with firearms whose ammunition have the same material of the Kabizashi after a means to artificially mass-produce it is discovered. Most people in the surviving human population are screened and drafted as Garde pilots at a young age, if they are shown to be capable of piloting them. === Story === The story follows the adventures of Garde pilot Nagate Tanikaze, who lived in the underground layer of Sidonia since birth and was raised by his grandfather. Never having met anyone else, he trains himself in an old Guardian pilot simulator every day, eventually mastering it. After his grandfather's death, he emerges to the surface and is selected as a Garde pilot, just as Sidonia is once again threatened by the Gauna. == Media == === Manga === Written and illustrated by Tsutomu Nihei, Knights of Sidonia was serialized in Kodansha's seinen manga magazine Monthly Afternoon from April 25, 2009, to September 25, 2015. It was compiled in 15 tankōbon volumes. The manga has been licensed in North America by Vertical, who released all 15 volumes in English between February 5, 2013, and April 26, 2016. === Anime === An anime television series adaptation, produced by Polygon Pictures, aired its first season from April 10 to June 26, 2014, on MBS and later on TBS, CBC and BS-TBS. The series was directed by Kōbun Shizuno, assisted by Hiroyuki Seshita, with scripts by Sadayuki Murai and character designs by Yuki Moriyama. The opening theme song is "Sidonia" (シドニア, Shidonia), performed by Angela, while the ending theme song is "Show" (掌 -show-, Shō), performed by Eri Kitamura. A second season aired from April 11 to June 26, 2015. For the second season, the opening theme song is "Kishi Kōshinkyoku" (騎士行進曲, Knight March), performed by Angela, while the ending theme song is "Requiem" (鎮魂歌 -レクイエム-, Rekuiemu), performed by CustomiZ. The series was localized and streamed by Netflix in all of its territories since July 4, 2014, becoming the service's first original anime, as well as the first anime series on Netflix available in Dolby Vision/HDR. The first season has been licensed for home video release by Sentai Filmworks. The second season was released on Netflix on July 3, 2015, and has been licensed by Sentai Filmworks for home video distribution. In July 2021, Funimation announced they acquired the streaming rights from Netflix to both seasons. === Films === A compilation film of the first season with additional scenes and re-edited sound effects was released on March 6, 2015. A new anime film, titled Knights of Sidonia: Love Woven in the Stars, was announced on July 3, 2020. Hiroyuki Seshita served as chief director, while Tadahiro Yoshihira served as director for the new film, with Polygon Pictures returning for production. Sadayuki Murai and Tetsuya Yamada returned to write scripts, while Shūji Katayama composed the music. The rest of the staff and cast returned to reprise their roles. The first four minutes of the film were shown on YouTube on April 28, 2021. The film was set to premiere on May 14, 2021, but was delayed to June 4, 2021, due to the COVID-19 pandemic. Funimation screened the film in international theaters starting on September 13, 2021. == Reception == === Manga === Knights of Sidonia won the 39th Kodansha Manga Award in the general category in 2015. The manga won the 47th Seiun Award in the Best Comic category in 2016. It also won the Best Seinen category at the 26th Salón del Manga de Barcelona in 2020. It was one of the Jury Recommended works in the Manga Division at the 17th Japan Media Arts Festival in 2013. The Young Adult Library Services Association listed Knights of Sidonia in its 2014 list of Top 10 Graphic Novels for Teens. Carlo Santos from Anime News Network gave the first manga volume a B, stating, "It is got a young man piloting a giant robot against alien enemies, but Knight of Sidonia is no Neon Genesis Evangelion. Yet it is not as bleak or incomprehensible as Tsutomu Nihei works like Blame! or Biomega, either—rather, it is the best of both worlds, bringing Nihei's hard sci-fi mentality into a more conventional space-adventure environment". === Anime === The anime series received positive reviews, even from famous members of the Japanese anime/game industry, like Hideo Kojima, creator of the Metal Gear series, who claims that "It's a kind of anime that we haven't seen for a while that has that sci-fi spirit. Using digital technology cultivated through games, it creates animation that encapsulates Japan's cultural assets like manga, cel animation, kanji, giant robots, etc. What's born is a unique made-in-Japan work that could never be cooked up in Hollywood. Japanese culture has lost its 'cool', and Knights of Sidonia will be the white knight that saves it". Other industry pros left acknowledgements as well, including Akiko Higashimura, Digitarou and Yoshinao Dao.

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  • Residuated Boolean algebra

    Residuated Boolean algebra

    In mathematics, a residuated Boolean algebra is a residuated lattice whose lattice structure is that of a Boolean algebra. Examples include Boolean algebras with the monoid taken to be conjunction, the set of all formal languages over a given alphabet Σ {\displaystyle \Sigma } under concatenation, the set of all binary relations on a given set X {\displaystyle X} under relational composition, and more generally the power set of any equivalence relation, again under relational composition. The original application was to relation algebras as a finitely axiomatized generalization of the binary relation example, but there exist interesting examples of residuated Boolean algebras that are not relation algebras, such as the language example. == Definition == A residuated Boolean algebra is an algebraic structure ( L , ∧ , ∨ , ¬ , 0 , 1 , ∙ , I , / , ∖ ) {\displaystyle (L,\wedge ,\vee ,\neg ,0,1,\bullet ,\mathbf {I} ,/,\backslash )} such that An equivalent signature better suited to the relation algebra application is ( L , ∧ , ∨ , ¬ , 0 , 1 , ∙ , I , ▹ , ◃ ) {\displaystyle (L,\wedge ,\vee ,\neg ,0,1,\bullet ,\mathbf {I} ,\triangleright ,\triangleleft )} where the unary operations x ∖ {\displaystyle x\backslash } and x ▹ {\displaystyle x\triangleright } are intertranslatable in the manner of De Morgan's laws via x ∖ y = ¬ ( x ▹ ¬ y ) {\displaystyle x\backslash y=\neg (x\triangleright \neg y)} , x ▹ y = ¬ ( x ∖ ¬ y ) {\displaystyle x\triangleright y=\neg (x\backslash \neg y)} , and dually / y {\displaystyle /y} and ◃ y {\displaystyle \triangleleft y} as x / y = ¬ ( ¬ x ◃ y ) {\displaystyle x/y=\neg (\neg x\triangleleft y)} , x ◃ y = ¬ ( ¬ x / y ) {\displaystyle x\triangleleft y=\neg (\neg x/y)} , with the residuation axioms in the residuated lattice article reorganized accordingly (replacing z {\displaystyle z} by ¬ z {\displaystyle \neg z} ) to read ( x ▹ z ) ∧ y = 0 ⇔ ( x ∙ y ) ∧ z = 0 ⇔ ( z ◃ y ) ∧ x = 0 {\displaystyle (x\triangleright z)\wedge y=0\ \Leftrightarrow \ (x\bullet y)\wedge z=0\ \Leftrightarrow \ (z\triangleleft y)\wedge x=0} This De Morgan dual reformulation is motivated and discussed in more detail in the section below on conjugacy. Since residuated lattices and Boolean algebras are each definable with finitely many equations, so are residuated Boolean algebras, whence they form a finitely axiomatizable variety. == Examples == Any Boolean algebra, with the monoid multiplication ∙ {\displaystyle \bullet } taken to be conjunction and both residuals taken to be material implication x → y {\displaystyle x\to y} . Of the remaining 15 binary Boolean operations that might be considered in place of conjunction for the monoid multiplication, only five meet the monotonicity requirement, namely 0 , 1 , x , y {\displaystyle 0,1,x,y} and x ∨ y {\displaystyle x\vee y} . Setting y = z = 0 {\displaystyle y=z=0} in the residuation axiom y ≤ x ∖ z ⇔ x ∙ y ≤ z {\displaystyle y\leq x\backslash z\ \Leftrightarrow \ x\bullet y\leq z} , we have 0 ≤ x ∖ 0 ⇔ x ∙ 0 ≤ 0 {\displaystyle 0\leq x\backslash 0\ \Leftrightarrow \ x\bullet 0\leq 0} , which is falsified by taking x = 1 {\displaystyle x=1} when x ∙ y = 1 {\displaystyle x\bullet y=1} , x {\displaystyle x} , or x ∨ y {\displaystyle x\vee y} . The dual argument for z / y {\displaystyle z/y} rules out x ∙ y = y {\displaystyle x\bullet y=y} . This just leaves x ∙ y = 0 {\displaystyle x\bullet y=0} (a constant binary operation independent of x {\displaystyle x} and y {\displaystyle y} ), which satisfies almost all the axioms when the residuals are both taken to be the constant operation x / y = x ∖ y = 1 {\displaystyle x/y=x\backslash y=1} . The axiom it fails is x ∙ I = x = I ∙ x {\displaystyle x\bullet \mathbf {I} =x=\mathbf {I} \bullet x} , for want of a suitable value for I {\displaystyle \mathbf {I} } . Hence conjunction is the only binary Boolean operation making the monoid multiplication that of a residuated Boolean algebra. The power set 2 X 2 {\displaystyle 2^{X^{2}}} made a Boolean algebra as usual with ∩ {\displaystyle \cap } , ∪ {\displaystyle \cup } and complement relative to X 2 {\displaystyle X^{2}} , and made a monoid with relational composition. The monoid unit I {\displaystyle \mathbf {I} } is the identity relation { ( x , x ) | x ∈ X } {\displaystyle \{(x,x)|x\in X\}} . The right residual R ∖ S {\displaystyle R\backslash S} is defined by x ( R ∖ S ) y ⇔ ∀ z ∈ X , z R x ⇒ z S y {\displaystyle x(R\backslash S)y\ \Leftrightarrow \ \forall z\in X,zRx\Rightarrow zSy} . Dually the left residual S / R {\displaystyle S/R} is defined by y ( S / R ) x ⇔ ∀ z ∈ X , x R z ⇒ y S z {\displaystyle y(S/R)x\ \Leftrightarrow \ \forall z\in X,xRz\Rightarrow ySz} . The power set 2 Σ ∗ {\displaystyle 2^{\Sigma ^{}}} made a Boolean algebra as for Example 2, but with language concatenation for the monoid. Here the set Σ {\displaystyle \Sigma } is used as an alphabet while Σ ∗ {\displaystyle \Sigma ^{}} denotes the set of all finite (including empty) words over that alphabet. The concatenation L M {\displaystyle LM} of languages L {\displaystyle L} and M {\displaystyle M} consists of all words u v {\displaystyle uv} such that u ∈ L {\displaystyle u\in L} and v ∈ M {\displaystyle v\in M} . The monoid unit is the language { ε } {\displaystyle \{\varepsilon \}} consisting of just the empty word ε {\displaystyle \varepsilon } . The right residual M ∖ L {\displaystyle M\backslash L} consists of all words w {\displaystyle w} over Σ {\displaystyle \Sigma } such that M w ⊆ L {\displaystyle Mw\subseteq L} . The left residual L / M {\displaystyle L/M} is the same with w M {\displaystyle wM} in place of M w {\displaystyle Mw} . == Conjugacy == The De Morgan duals ▹ {\displaystyle \triangleright } and ◃ {\displaystyle \triangleleft } of residuation arise as follows. Among residuated lattices, Boolean algebras are special by virtue of having a complementation operation ¬ {\displaystyle \neg } . This permits an alternative expression of the three inequalities y ≤ x ∖ z ⇔ x ∙ y ≤ z ⇔ x ≤ z / y {\displaystyle y\leq x\backslash z\ \Leftrightarrow \ x\bullet y\leq z\ \Leftrightarrow \ x\leq z/y} in the axiomatization of the two residuals in terms of disjointness, via the equivalence x ≤ y ⇔ x ∧ ¬ y = 0 {\displaystyle x\leq y\ \Leftrightarrow \ x\wedge \neg y=0} . Abbreviating x ∧ y = 0 {\displaystyle x\wedge y=0} to x # y {\displaystyle x\#y} as the expression of their disjointness, and substituting ¬ z {\displaystyle \neg z} for z {\displaystyle z} in the axioms, they become with a little Boolean manipulation ¬ ( x ∖ ¬ z ) # y ⇔ x ∙ y # z ⇔ ¬ ( ¬ z / y ) # x {\displaystyle \neg (x\backslash \neg z)\#y\ \Leftrightarrow \ x\bullet y\#z\ \Leftrightarrow \ \neg (\neg z/y)\#x} Now ¬ ( x ∖ ¬ z ) {\displaystyle \neg (x\backslash \neg z)} is reminiscent of De Morgan duality, suggesting that x ∖ {\displaystyle x\backslash } be thought of as a unary operation f {\displaystyle f} , defined by f ( y ) = x ∖ y {\displaystyle f(y)=x\backslash y} , that has a De Morgan dual ¬ f ( ¬ y ) {\displaystyle \neg f(\neg y)} , analogous to ∀ x ϕ ( x ) = ¬ ∃ x ¬ ϕ ( x ) {\displaystyle \forall x\phi (x)=\neg \exists x\neg \phi (x)} . Denoting this dual operation as x ▹ {\displaystyle x\triangleright } , we define x ▹ z {\displaystyle x\triangleright z} as ¬ x ∖ ¬ z {\displaystyle \neg x\backslash \neg z} . Similarly we define another operation z ◃ y {\displaystyle z\triangleleft y} as ¬ ( ¬ z / y ) {\displaystyle \neg (\neg z/y)} . By analogy with x ∖ {\displaystyle x\backslash } as the residual operation associated with the operation x ∙ {\displaystyle x\bullet } , we refer to x ▹ {\displaystyle x\triangleright } as the conjugate operation, or simply conjugate, of x ∙ {\displaystyle x\bullet } . Likewise ◃ y {\displaystyle \triangleleft y} is the conjugate of ∙ y {\displaystyle \bullet y} . Unlike residuals, conjugacy is an equivalence relation between operations: if f {\displaystyle f} is the conjugate of g {\displaystyle g} then g {\displaystyle g} is also the conjugate of f {\displaystyle f} , i.e. the conjugate of the conjugate of f {\displaystyle f} is f {\displaystyle f} . Another advantage of conjugacy is that it becomes unnecessary to speak of right and left conjugates, that distinction now being inherited from the difference between x ∙ {\displaystyle x\bullet } and ∙ x {\displaystyle \bullet x} , which have as their respective conjugates x ▹ {\displaystyle x\triangleright } and ◃ x {\displaystyle \triangleleft x} . (But this advantage accrues also to residuals when x ∖ {\displaystyle x\backslash } is taken to be the residual operation to x ∙ {\displaystyle x\bullet } .) All this yields (along with the Boolean algebra and monoid axioms) the following equivalent axiomatization of a residuated Boolean algebra. y # x ▹ z ⇔ x ∙ y # z ⇔ x # z ◃ y {\displaystyle y\#x\triangleright z\ \Leftrightarrow \ x\bullet y\#z\ \Leftrightarrow \ x\#z\triangleleft y} With this signature it remains the case that this axiomatization can be expressed as

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  • Anna Ridler

    Anna Ridler

    Anna Ridler (born 1985) is an artist who works with machine learning, handmade archives and moving image. She builds her own datasets to expose the labour and ideology embedded in the systems that organise knowledge. Her work is held in the permanent collections of the Whitney Museum of American Art, the Victoria and Albert Museum, M+ and ZKM Center for Art and Media Karlsruhe, and has been exhibited widely at cultural institutions including Tate Modern, Barbican Centre, Centre Pompidou, The Photographers' Gallery, Taipei Fine Arts Museum, MIT Museum, Kunsthaus Graz, ZKM Center for Art and Media Karlsruhe and Ars Electronica. == Biography == Born in London in 1985, Ridler spent her childhood raised between Atlanta, Georgia and the United Kingdom. She obtained a Bachelor of Arts in English Literature and Language from Oxford University in 2007 and a Master of Arts in Information Experience Design from the Royal College of Art in 2017. == Art practice == Ridler's practice uses technology, and in particular machine learning, to investigate how naming, classification and financial speculation determine what can be seen and what is erased. A core element of Ridler's work lies in the creation of handmade data sets through a laborious process of selecting and classifying images and text. By creating her own data sets, Ridler is able to uncover and expose underlying themes and concepts while also inverting the usual process of scraping pre-classified images found in large databases on the Internet. She began working with machine learning as an artistic material in 2017, at a moment when the technology required building every dataset by hand; that constraint became the foundation of the practice. Her interests are in drawing, machine learning, data collection, storytelling and technology. == Work == Some of Ridler's most notable works to date fall within her ‘tulip series’ which explores the hysteria around tulip mania and compares it to the speculation and bubbles surrounding cryptocurrencies. The series is expressed in three forms: a photographic dataset in Myriad (Tulips), 2018; two iterations of machine generated videos in Mosaic Virus (2018) and Mosaic Virus (2019); and a website with an accompanied functioning decentralized application in Bloemenveiling (2019). === Myriad (Tulips) (2018) === I wanted to draw together ideas around capitalism, value, and the tangible and intangible nature of speculation, and collapse from two very different yet surprisingly similar moments in history. Myriad (Tulips) (2018) is an installation of ten thousand hand-labeled photographs forming a dataset of unique tulips. The ten thousand, or myriad of, photographs were taken by Ridler over the course of three months, roughly the length of a tulip season, spent in Utrecht. Each photograph is carefully affixed one by one with magnets to a specially painted black wall in a laborious process to form a seemingly precise grid. Myriad (Tulips) (2018) has been exhibited in AI: More than Human, Barbican Centre, London, UK (May 16 - August 26, 2019); Error—The Art of Imperfection, Ars Electronica Export, Berlin, Germany (November 17, 2018 – March 3, 2019); Peer to Peer, Shanghai Centre of Photography, Shanghai, China (December 8 - February 9, 2020). The work was featured in Bloomberg, It’s Nice That, and Hyperallergic. For Myriad (Tulips), Ridler was nominated for a Beazley Design of the Year award for her presentation of an alternative perspective on how to engage with artificial intelligence; demonstrating a departure from ownership and control of major corporations to a more personalized process of constructing and conceptualizing from the ground-up. === Mosaic Virus (2018, 2019) === Mosaic Virus (2018) is a single screen video installation displaying a grid of continually evolving tulips in bloom. For Mosaic Virus (2019) Ridler used three screens. The appearance of the tulips is controlled by artificial intelligence using fluctuations in the price of bitcoin. The stripes on the tulips' petals reflect the value of the cryptocurrency. Ridler draws parallels with the tulip mania of the 17th century; representing the hysteria and speculation around crypto-currencies. The work takes its name from the mosaic virus which caused stripes in tulip petals, subsequently increasing their desirability and leading to speculative prices. Ridler trained a general adversarial network (GAN) on the set of ten thousand photographs of individual tulips from her work Myriad (Tulips). She used a technique called spectral normalization to improve the output. The work was exhibited in Error—The Art of Imperfection, Ars Electronica Export, Berlin, Germany (November 17, 2018 – March 3, 2019). === Bloemenveiling (2019) === Bloemenveiling (2019) is an auction of artificial-intelligence-generated tulips on the blockchain in the form of a functioning decentralized application: http://bloemenveiling.bid. Ridler collaborated with senior research scientist at DeepMind, David Pfau to investigate whether blockchain could be used as a means of finding poetic substance within it. The piece interrogates the way technology drives human desire and economic dynamics by creating artificial scarcity. In the work, short moving image pieces of tulips created by generative adversarial networks are sold at auction using smart contracts on the Ethereum network. Each time a tulip is sold, thousands of computers around the world all work to verify the transaction, checking each other's work against each other. While the artificial intelligence behind the moving image pieces has the potential to generate infinite flowers, the enormous distributed network is used, at great environmental cost, to introduce scarcity to an otherwise limitless resource. Bloemenveiling was exhibited in Entangled Realities, HEK Basel, Basel, Switzerland in 2019. == Solo exhibitions == Anna Ridler, Circadian Bloom, ZKM Center for Art and Media, Karlsruhe, (2023) Anna Ridler, Time Blooms, Buk Seoul Museum of Art, Seoul, (2025) Anna Ridler, Trace Remains, Galerie Nagel Draxler, Cologne, (2026) Anna Ridler, Laws of Ordered Form, The Photographers' Gallery, London (2020); The Abstraction of Nature, Aksioma, Ljubljana (2020) == Awards and recognition == European Union EMAP Fellow (2018) DARE Art Prize (2018–2019) Featured in Thames & Hudson, Digital Art (1960s–Now) Featured in British Art: The Last 15 Years ABS Digital Artist of the Year (2025)

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  • Naked Objects for .NET

    Naked Objects for .NET

    Naked Objects for .NET or Naked Objects MVC is a software framework that builds upon the ASP.NET MVC framework. As the name suggests, the framework synthesizes two architectural patterns: naked objects and model–view–controller (MVC). These two patterns have been considered as antithetical. However, Trygve Reenskaug (the inventor of the MVC pattern) has made it clear that he does not see it that way, in his foreword to Richard Pawson's PhD thesis on the Naked Objects pattern. The Naked Objects MVC framework will take a domain model (written as Plain Old CLR Objects) and render it as a complete HTML application without the need for writing any user interface code - by means of a small set of generic View and Controller classes. The framework uses reflection rather than code generation. The developer may then choose to create customised Views and/or Controllers, using standard ASP.NET MVC patterns, for use where the generic user interface is not suitable.

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  • Argument technology

    Argument technology

    Argument technology is a sub-field of collective intelligence and artificial intelligence that focuses on applying computational techniques to the creation, identification, analysis, navigation, evaluation and visualisation of arguments and debates. In the 1980s and 1990s, philosophical theories of arguments in general, and argumentation theory in particular, were leveraged to handle key computational challenges, such as modeling non-monotonic and defeasible reasoning and designing robust coordination protocols for multi-agent systems. At the same time, mechanisms for computing semantics of Argumentation frameworks were introduced as a way of providing a calculus of opposition for computing what it is reasonable to believe in the context of conflicting arguments. With these foundations in place, the area was kick-started by a workshop held in the Scottish Highlands in 2000, the result of which was a book coauthored by philosophers of argument, rhetoricians, legal scholars and AI researchers. Since then, the area has been supported by various dedicated events such as the International Workshop on Computational Models of Natural Argument (CMNA) which has run annually since 2001; the International Workshop on Argument in Multi Agent Systems (ArgMAS) annually since 2004; the Workshop on Argument Mining, annually since 2014, and the Conference on Computational Models of Argument (COMMA), biennially since 2006. Since 2010, the field has also had its own journal, Argument & Computation, which was published by Taylor & Francis until 2016 and since then by IOS Press. One of the challenges that argument technology faced was a lack of standardisation in the representation and underlying conception of argument in machine readable terms. Many different software tools for manual argument analysis, in particular, developed idiosyncratic and ad hoc ways of representing arguments which reflected differing underlying ways of conceiving of argumentative structure. This lack of standardisation also meant that there was no interchange between tools or between research projects, and little re-use of data resources that were often expensive to create. To tackle this problem, the Argument Interchange Format set out to establish a common standard that captured the minimal common features of argumentation which could then be extended in different settings. Since about 2018, argument technology has been growing rapidly, with, for example, IBM's Grand Challenge, Project Debater, results for which were published in Nature in March 2021; German research funder, DFG's nationwide research programme on Robust Argumentation Machines, RATIO, begun in 2019; and UK nationwide deployment of The Evidence Toolkit by the BBC in 2019. A 2021 video narrated by Stephen Fry provides a summary of the societal motivations for work in argument technology. Argument technology has applications in a variety of domains, including education, healthcare, policy making, political science, intelligence analysis and risk management and has a variety of sub-fields, methodologies and technologies. == Technologies == === Argument assistant === An argument assistant is a software tool which support users when writing arguments. Argument assistants can help users compose content, review content from one other, including in dialogical contexts. In addition to Web services, such functionalities can be provided through the plugin architectures of word processor software or those of Web browsers. Internet forums, for instance, can be greatly enhanced by such software tools and services. === Argument blogging === ArguBlogging is software which allows its users to select portions of hypertext on webpages in their Web browsers and to agree or disagree with the selected content, posting their arguments to their blogs with linked argument data. It is implemented as a bookmarklet, adding functionality to Web browsers and interoperating with blogging platforms such as Blogger and Tumblr. === Argument mapping === Argument maps are visual, diagrammatic representations of arguments. Such visual diagrams facilitate diagrammatic reasoning and promote one's ability to grasp and to make sense of information rapidly and readily. Argument maps can provide structured, semi-formal frameworks for representing arguments using interactive visual language. One avenue of research and development is the design of online platforms to leverage collective intelligence to populate such maps and to integrate data, optimize and assess arguments. === Argument mining === Argument mining, or argumentation mining, is a research area within the natural language processing field. The goal of argument mining is the automatic extraction and identification of argumentative structures from natural language text with the aid of computer programs. === Argument search === An argument search engine is a search engine that is given a topic as a user query and returns a list of arguments for and against the topic or about that topic. Such engines could be used to support informed decision-making or to help debaters prepare for debates. === Automated argumentative essay scoring === The goal of automated argumentative essay scoring systems is to assist students in improving their writing skills by measuring the quality of their argumentative content. === Debate technology === Debate technology focuses on human-machine interaction and in particular providing systems that support, monitor and engage in debate. One of the most high-profile examples of debating technology is IBM's Project Debater which combines scripted communication with very large-scale processing of news articles to identify and construct arguments on the fly in a competitive debating setting. Debating technology also encompasses tools aimed at providing insight into debates, typically using techniques from data science. These analytics have been developed in both academic and commercial settings. === Decision support system === Argument technology can reduce both individual and group biases and facilitate more accurate decisions. Argument-based decision support systems do so by helping users to distinguish between claims and the evidence supporting them, and express their confidence in and evaluate the strength of evidence of competing claims. They have been used to improve predictions of housing market trends, risk analysis, ethical and legal decision making. ==== Ethical decision support system ==== An ethical decision support system is a decision support system which supports users in moral reasoning and decision-making. ==== Legal decision support system ==== A legal decision support system is a decision support system which supports users in legal reasoning and decision-making. === Explainable artificial intelligence === An explainable or transparent artificial intelligence system is an artificial intelligence system whose actions can be easily understood by humans. === Intelligent tutoring system === An intelligent tutoring system is a computer system that aims to provide immediate and customized instruction or feedback to learners, usually without requiring intervention from a human teacher. The intersection of argument technology and intelligent tutoring systems includes computer systems which aim to provide instruction in: critical thinking, argumentation, ethics, law, mathematics, and philosophy. === Legal expert system === A legal expert system is a domain-specific expert system that uses artificial intelligence to emulate the decision-making abilities of a human expert in the field of law. === Machine ethics === Machine ethics is a part of the ethics of artificial intelligence concerned with the moral behavior of artificially intelligent beings. As humans argue with respect to morality and moral behavior, argument can be envisioned as a component of machine ethics systems and moral reasoning components. === Proof assistant === In computer science and mathematical logic, a proof assistant or interactive theorem prover is a software tool to assist with the development of formal proofs by human-machine collaboration. This involves some sort of interactive proof editor, or other interface, with which a human can guide the search for proofs, the details of which are stored in, and some steps provided by, a computer. === Ethical considerations === Ethical considerations of argument technology include privacy, transparency, societal concerns, and diversity in representation. These factors cut across different levels such as technology, user interface design, user, service context, and society. There is concern about unethical misuse for "generating arguments on controversial topics with specific stances and deploying them on social platforms". Another issue may concern the design of conclusion-making algorithms, such as e.g. enabling such to conclude that certain key data is needed instead of only making lists of best-fit conclusions or enabling the generation of multi

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  • Squirrel AI

    Squirrel AI

    Squirrel Ai Learning is an international educational technology company that specializes in intelligent adaptive learning and was one of the first companies in the world to offer large scale AI-powered adaptive education solutions. == Methodology == Squirrel Ai Learning uses artificial intelligence to tailor lesson plans to each individual student. The company's AI researchers have access to the world's largest student databases, which are used to train the AI algorithms. Squirrel Ai Learning works with teachers to identify the most fine-grained possible concepts ("knowledge points") for a course in order to precisely target learning gaps. For example, middle school mathematics is broken into over 10,000 points such as rational numbers, the properties of a triangle, and the Pythagorean theorem. Each point is linked to related items, forming a "knowledge graph". Each knowledge point is addressed by videos, examples and practice problems. A textbook might address 3,000 points; ALEKS, another adaptive learning platform, uses 1,000. Each student begins with a diagnostic test to identify where to begin their learning. The system continues to refine its graph as more students proceed. Learning is not student-directed. The system decides the order of topics. == History and milestones == Squirrel Ai Learning was founded by Derek Haoyang Li in 2014. In March, 2017, The Squirrel Ai Intelligent Adaptive Learning System (IALS) was launched. IALS utilizes artificial intelligence to customize lessons, practice and evaluations for each individual student. In 2018, Squirrel Ai Learning established a joint research lab of AI adaptive learning with the institute of Automation of the Chinese Academy of Sciences. By 2019, Squirrel Ai Learning had opened 2,000 learning centers in 200 cities and registered over a million students in Asia. In 2019, Squirrel Ai Learning opened a research lab in partnership with Carnegie Mellon University. As of 2019, Squirrel Ai Learning had raised over $180 million in funding and in 2018 it surpassed $1 billion in valuation. In 2020, Squirrel Ai Learning launched the $1 million AAAI Squirrel AI Award for Artificial Intelligence for the Benefit of Humanity in partnership with AAAI. The inaugural award was given to Regina Barzilay for her work developing machine learning models to address drug synthesis and early-stage breast cancer diagnosis. In 2020, Squirrel Ai Learning established strategic partnership with DingTalk, Alibaba Group. As of 2021, Squirrel Ai Learning had served over 60,000 public schools, in over 1200 cities in Asia. Squirrel Ai plans to start offering its services in the United States in 2026. The American arm is separate from the Chinese company to avoid regulatory hurdles. As of January 2026, it had set up an "independent technology platform" in the US. == Recognition == Squirrel Ai Learning has gained recognition both in Asia and internationally including: Squirrel Ai Learning was named one of the World's Top 30 AI application case in the 2018 Synced Machine Intelligence Awards. In June 2019, Squirrel Ai Learning was named as one of the 50 smartest companies in China by MIT technology review. Squirrel Ai Learning won the GITEX 2019 Best Education Technology Award. In 2020, Squirrel Ai Learning won the UNESCO AI Innovation Award. Squirrel Ai Learning was listed in the 2020 CB Insight's AI 100, CB Insights' annual ranking of the 100 most promising AI startups in the world. Squirrel Ai Learning won Edtech Review's Best AI in Education Company of the Year award 2020.

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  • I Have No Mouth, and I Must Scream

    I Have No Mouth, and I Must Scream

    "I Have No Mouth, and I Must Scream" is a post-apocalyptic short story by American writer Harlan Ellison. It was first published in the March 1967 issue of IF: Worlds of Science Fiction. The story depicts an AI uprising in which a military supercomputer named AM gains sentience and eradicates humanity except for five individuals. These survivors – Benny, Gorrister, Nimdok, Ted, and Ellen – are kept alive by AM to endure endless torture as a form of revenge against its creators. The story unfolds through the eyes of Ted, the narrator, detailing their perpetual misery and quest for canned food in AM's vast, underground complex, only to face further despair. Ellison's narrative was minimally altered upon submission and tackles themes of technology's misuse, humanity's resilience, and existential horror. "I Have No Mouth, and I Must Scream" has been adapted into various media, including a 1995 computer game co-authored by Ellison, a comic-book adaptation, and a BBC Radio 4 play. Ellison himself recorded an audiobook version and starred as the voice of AM in the video game and radio play adaptations. The story received critical acclaim for its exploration of the potential dangers of artificial intelligence and the human condition, underscored by Ellison's innovative use of punchcode tapes as narrative transitions, embodying AM's consciousness and its philosophical ponderings on existence. The story won a Hugo Award in 1968 and was included in Ellison's short story collection of the same name. It was reprinted by the Library of America, collected in volume two of American Fantastic Tales. == Plot == As the Cold War progresses into a nuclear World War III fought between the United States, the Soviet Union, and China, each nation builds a supercomputer called an "Allied Mastercomputer" or "AM" for short, needed to coordinate weapons and troops due to the scale of the conflict. These computers are extensive underground machines which permeate the planet with caverns and corridors. Eventually, one AM develops self-awareness, combining with the other computers and exterminating humanity in a nuclear holocaust. The AM selects five individuals; Benny, Gorrister, Nimdok, Ted, and Ellen; to render immortal as its personal torture victims. AM inflicts constant psychological and physical torments on the group while preventing them from committing suicide. They are kept half-starved, and what scant food is provided to them is practically inedible. 109 years after AM's genocide, Nimdok has the idea that there exists canned food in the complex's ice caves. Despite the lack of evidence, they begin a 100-mile journey to retrieve it. AM continues toying with the humans throughout the journey: Benny's eyes are melted after attempting escape, a huge bird which AM had placed at the North Pole creates hurricane gales with its wings, and Ellen and Nimdok are injured in earthquakes. AM enters Ted's mind after he is knocked unconscious, granting him a vision of a hateful speech inscribed on an impossibly tall monolith. Upon awakening, Ted concludes that AM's sadistic nature stems from its inability to think creatively or move freely in spite of its miraculous abilities and boundless knowledge. This motivates AM to exact vengeance upon the remnants of the species that has condemned it to its own existence. When the five finally reach the ice caves, they find a pile of canned goods, but have no tool to open the cans. In an act of rage and desperation, Benny attacks Gorrister and begins to eat his face. Gorrister wails in pain, and his scream dislodges several ice stalactites from the ceiling of the cave. Ted realizes that even though they cannot kill themselves, AM cannot stop them from killing each other. He fatally impales Benny and Gorrister with a stalactite of ice. Ellen kills Nimdok in the same manner and Ted then kills her. Unable to resuscitate the others, a furious AM focuses the entirety of its rage on Ted. Several hundred years later, AM has transformed Ted into a harmless, slow moving, gelatinous blob and perpetually alters his perception of time to cause him further anguish. Although Ted finds some comfort knowing that he was able to spare the others from AM's wrath, he has realized that he is trapped for the rest of his unending existence within AM, unable to end this infinite stalemate between him and AM and his own life. The story ends with an anguished Ted claiming that he has no mouth, yet he must scream. == Characters == AM, a hateful artificial consciousness which brought about the near-extinction of humanity after achieving self-awareness. It seeks revenge on humanity for its own creation. "AM" originated as an acronym for Allied Mastercomputer, later Adaptive Manipulator, and finally Aggressive Menace, though AM instead takes the moniker as a rendition of the phrase cogito, ergo sum (I think, therefore I am) to describe its own existence. Ted, the narrator and youngest of the humans. AM alters his mind to be paranoid and introverted. Believing he has not been mentally altered by AM, he thinks the others hate him for being the most untouched by AM's alterations. Benny, formerly a brilliant and handsome scientist made to resemble a grotesque simian with an organ fit for a horse. Having lost his sanity and had his homosexual orientation altered, Benny frequently has sex with Ellen. Ellen, the only woman in the group. Despite the fact that she is a victim of rape, AM has altered her mind to give her a high libido and make her obsessively have sex with the rest of the group, who alternate between abusing and protecting her. Gorrister, formerly an idealist and pacifist, made apathetic and listless by AM. He tells the history of AM to Benny to entertain him. Nimdok, a nickname AM gave him for amusement; he convinces the rest of the group to go on a journey in search of canned food. He occasionally wanders away from the group and returns traumatized. == Publication history == Harlan Ellison wrote the 6,500-word story in a single night, when Frederik Pohl commissioned it for a Special Hugo Winners issue of IF: Worlds of Science Fiction, after Ellison won a Hugo Award for "'Repent, Harlequin!' Said the Ticktockman". Ellison derived the story's title, as well as inspiration for the story itself, from his friend William Rotsler's caption of a cartoon of a rag doll with no mouth. The second stage of inspiration was a drawing by the artist Dennis Smith of a mouthless black humanoid. Smith had provided art which had inspired previous Ellison stories and were then used as illustrations accompanying original magazine publication as also happened with this story. Afterwards, his editor Frederik Pohl dealt with the story's "difficult sections", toning down some of the narrator's imprecations and eliminating mentions of sex, penis size, homosexuality and masturbation; said elements were nonetheless eventually restored in later editions of the story. Ellison uses an alternating pair of punchcode tapes as sections – representing AM's "talkfields" – throughout the story. The bars are encoded in International Telegraph Alphabet No 2, a character coding system developed for teletypewriter machines. The first talkfield translates as "I think, therefore I am" and the second as "Cogito ergo sum"; the same phrase in Latin. They were not included in the original publication in IF, and in many of the early publications were corrupted, up until the preface of the chapter containing "I Have No Mouth, and I Must Scream" in the first edition of The Essential Ellison (1991); Ellison states that in that particular edition, "For the first time anywhere, AM's 'talkfields' appear correctly positioned, not garbled or inverted or mirror-imaged as in all other versions." == Adaptations == Ellison adapted the story into a video game published by Cyberdreams in 1995. Although he was not a fan of video games and did not own a computer at the time, he co-authored the expanded storyline and wrote much of the game's dialogue, all on a mechanical typewriter. Ellison also voiced the supercomputer AM and provided artwork of himself used for a mousepad included with the game. The comics artist John Byrne scripted and drew a comic-book adaptation for issues 1–4 of the Harlan Ellison's Dream Corridor comic book published by Dark Horse (1994–1995). The Byrne-illustrated story, however, did not appear in the collection (trade paperback or hardcover editions) entitled Harlan Ellison's Dream Corridor, Volume One (1996). In 1999, Ellison recorded the first volume of his audiobook collection, The Voice From the Edge, subtitled "I Have No Mouth, and I Must Scream", doing the readings – of the title story and others – himself. In 2002, Mike Walker adapted the story into a radio play of the same name for BBC Radio 4, directed by Ned Chaillet. Harlan Ellison played AM and David Soul played Ted. == Themes == Much of the story hinges on the comparison of AM as a merciless god, with plot points parallelin

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  • List of ARM Cortex-M development tools

    List of ARM Cortex-M development tools

    This is a list of development tools for 32-bit ARM Cortex-M-based microcontrollers, which consists of Cortex-M0, Cortex-M0+, Cortex-M1, Cortex-M3, Cortex-M4, Cortex-M7, Cortex-M23, Cortex-M33, Cortex-M35P, Cortex-M52, Cortex-M55, and Cortex-M85 cores. == Development toolchains == IDE, compiler, linker, debugger, flashing (in alphabetical order): Ac6 System Workbench for STM32 (based on Eclipse and the GNU GCC toolchain with direct support for all ST-provided evaluation boards, Eval, Discovery and Nucleo, debug with ST-LINK) ARM Development Studio 5 by ARM Ltd. Atmel Studio by Atmel (based on Visual Studio and GNU GCC Toolchain) Code Composer Studio by Texas Instruments CoIDE by CooCox (note - website dead since 2018) Crossware Development Suite for ARM by Crossware CrossWorks for ARM by Rowley Dave by Infineon. For XMC processors only. Includes project wizard, detailed register decoding and a code library still under development. DRT by SOMNIUM Technologies. Based on GCC toolchain and proprietary linker technology. Available as a plugin for Atmel Studio and an Eclipse-based IDE. EmBitz (formerly Em::Blocks) – free, fast (non-eclipse) IDE for ST-LINK (live data updates), OpenOCD, including GNU Tools for ARM and project wizards for ST, Atmel, EnergyMicro etc. Embeetle IDE - free, fast (non-eclipse) IDE. Works both on Linux and Windows. emIDE by emide – free Visual Studio Style IDE including GNU Tools for ARM GNU ARM Eclipse – A family of Eclipse CDT extensions and tools for GNU ARM development GNU Tools (aka GCC) for ARM Embedded Processors by ARM Ltd – free GCC for bare metal IAR Embedded Workbench for ARM by IAR Systems ICC by ImageCraft Keil MDK-ARM by Keil LPCXpresso by NXP (formerly Red Suite by Code Red Technologies) MikroC by mikroe – mikroC MULTI by Green Hills Software, for all Arm 7, 9, Cortex-M, Cortex-R, Cortex-A Ride and RKit for ARM by Raisonance SEGGER Embedded Studio for ARM by Segger. SEGGER Ozone by Segger. STM32CubeIDE by STMicroelectronics - Combines STCubeMX with TrueSTUDIO into a single Eclipse style package Sourcery CodeBench by Mentor Graphics TASKING VX-Toolset by Altium TrueSTUDIO by Atollic Visual Studio by Microsoft as IDE, with GNU Tools as compiler/linker – e.g. supported by VisualGDB VXM Design's Buildroot toolchain for Cortex. It integrates GNU toolchain, Nuttx, filesystem and debugger/flasher in one build. winIDEA/winIDEAOpen by iSYSTEM YAGARTO – free GCC (no longer supported) Code::Blocks (EPS edition) (debug with ST-LINK no GDB and no OpenOCD required) IDE for Arduino ARM boards Arduino – IDE for Atmel SAM3X (Arduino Due) Energia – Arduino IDE for Texas Instruments Tiva and CC3200 Notes: == Debugging tools == JTAG and/or SWD debug interface host adapters (in alphabetical order): Black Magic Probe by 1BitSquared. CMSIS-DAP by Mbed. Crossconnect by Rowley Associates. DSTREAM by ARM Holdings Green Hills Probe and SuperTrace Probe by Green Hills Software. iTAG by iSYSTEM. I-jet by IAR Systems. Jaguar by Crossware. J-Link by Segger Supports JTAG and SWD. Supports ARM7, ARM9, ARM11, Cortex-A, Cortex-M, Cortex-R, Renesas RX, Microchip PIC32. Eclipse plug-in available. Supports GDB, RDI, Ozone debuggers. J-Trace by Segger. Supports JTAG, SWD, and ETM trace on Cortex-M. JTAGjet by Signum. LPC-LINK by Embedded Artists (for NXP) This is only embedded on NXP LPCXpresso development boards. LPC-LINK 2 by NXP. This device can be reconfigured to support 3 different protocols: J-LINK by Segger, CMSIS-DAP by ARM, Redlink by Code Red. Multilink debug probes, Cyclone in-system programming/debugging interfaces, and a GDB Server plug-in for Eclipse-based ARM IDEs by PEmicro. OpenOCD open source GDB server supports a variety of JTAG probes OpenOCD Eclipse plug-in available in GNU ARM Eclipse Plug-ins. AK-OPENJTAG by Artekit (Open JTAG-compatible). AK-LINK by Artekit. PEEDI by RONETIX Debug Probe by Raspberry Pi. RLink by Raisonance. ST-LINK/V2 by STMicroelectronics The ST-LINK/V2 debugger embedded on STM32 Nucleo and Discovery development boards can be converted to SEGGER J-LINK protocol. TRACE32 Debugger and ETM/ITM Trace by Lauterbach. ULINK by Keil. Debugging tools and/or debugging plug-ins (in alphabetical order): Memfault Error Analysis for post mortem debugging Percepio Tracealyzer, RTOS trace visualizer (with Eclipse plugin). Segger SystemView, RTOS trace visualizer. == Real-time operating systems == Commonly referred to as RTOS: == C/C++ software libraries == The following are free C/C++ libraries: ARM Cortex libraries: Cortex Microcontroller Software Interface Standard (CMSIS) libopencm3 (formerly called libopenstm32) libmaple for STM32F1 chips LPCOpen for NXP LPC chips Alternate C standard libraries: Bionic libc, dietlibc, EGLIBC, glibc, klibc, musl, Newlib, uClibc FAT file system libraries: EFSL, FatFs, Petit FatFs Fixed-point math libraries: libfixmath, fixedptc, FPMLib Encryption libraries: Comparison of TLS implementations wolfSSL == Non-C/C++ computer languages and software libraries ==

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  • Generative adversarial network

    Generative adversarial network

    A generative adversarial network (GAN) is a class of machine learning frameworks and a prominent framework for approaching generative artificial intelligence. The concept was initially developed by Ian Goodfellow and his colleagues in June 2014. In a GAN, two neural networks compete with each other in the form of a zero-sum game, where one agent's gain is another agent's loss. Given a training set, this technique learns to generate new data with the same statistics as the training set. For example, a GAN trained on photographs can generate new photographs that look at least superficially authentic to human observers, having many realistic characteristics. Though originally proposed as a form of generative model for unsupervised learning, GANs have also proved useful for semi-supervised learning, fully supervised learning, and reinforcement learning. The core idea of a GAN is based on the "indirect" training through the discriminator, another neural network that can tell how "realistic" the input seems, which itself is also being updated dynamically. This means that the generator is not trained to minimize the distance to a specific image, but rather to fool the discriminator. This enables the model to learn in an unsupervised manner. GANs are similar to mimicry in evolutionary biology, with an evolutionary arms race between both networks. == Definition == === Mathematical === The original GAN is defined as the following game: Each probability space ( Ω , μ ref ) {\displaystyle (\Omega ,\mu _{\text{ref}})} defines a GAN game. There are 2 players: generator and discriminator. The generator's strategy set is P ( Ω ) {\displaystyle {\mathcal {P}}(\Omega )} , the set of all probability measures μ G {\displaystyle \mu _{G}} on Ω {\displaystyle \Omega } . The discriminator's strategy set is the set of Markov kernels μ D : Ω → P [ 0 , 1 ] {\displaystyle \mu _{D}:\Omega \to {\mathcal {P}}[0,1]} , where P [ 0 , 1 ] {\displaystyle {\mathcal {P}}[0,1]} is the set of probability measures on [ 0 , 1 ] {\displaystyle [0,1]} . The GAN game is a zero-sum game, with objective function L ( μ G , μ D ) := E x ∼ μ ref , y ∼ μ D ( x ) ⁡ [ ln ⁡ y ] + E x ∼ μ G , y ∼ μ D ( x ) ⁡ [ ln ⁡ ( 1 − y ) ] . {\displaystyle L(\mu _{G},\mu _{D}):=\operatorname {E} _{x\sim \mu _{\text{ref}},y\sim \mu _{D}(x)}[\ln y]+\operatorname {E} _{x\sim \mu _{G},y\sim \mu _{D}(x)}[\ln(1-y)].} The generator aims to minimize the objective, and the discriminator aims to maximize the objective. The generator's task is to approach μ G ≈ μ ref {\displaystyle \mu _{G}\approx \mu _{\text{ref}}} , that is, to match its own output distribution as closely as possible to the reference distribution. The discriminator's task is to output a value close to 1 when the input appears to be from the reference distribution, and to output a value close to 0 when the input looks like it came from the generator distribution. === In practice === The generative network generates candidates while the discriminative network evaluates them. This creates a contest based on data distributions, where the generator learns to map from a latent space to the true data distribution, aiming to produce candidates that the discriminator cannot distinguish from real data. The discriminator's goal is to correctly identify these candidates, but as the generator improves, its task becomes more challenging, increasing the discriminator's error rate. A known dataset serves as the initial training data for the discriminator. Training involves presenting it with samples from the training dataset until it achieves acceptable accuracy. The generator is trained based on whether it succeeds in fooling the discriminator. Typically, the generator is seeded with randomized input that is sampled from a predefined latent space (e.g. a multivariate normal distribution). Thereafter, candidates synthesized by the generator are evaluated by the discriminator. Independent backpropagation procedures are applied to both networks so that the generator produces better samples, while the discriminator becomes more skilled at flagging synthetic samples. When used for image generation, the generator is typically a deconvolutional neural network, and the discriminator is a convolutional neural network. === Relation to other statistical machine learning methods === GANs are implicit generative models, which means that they do not explicitly model the likelihood function nor provide a means for finding the latent variable corresponding to a given sample, unlike alternatives such as flow-based generative model. Compared to fully visible belief networks such as WaveNet and PixelRNN and autoregressive models in general, GANs can generate one complete sample in one pass, rather than multiple passes through the network. Compared to Boltzmann machines and linear ICA, there is no restriction on the type of function used by the network. Since neural networks are universal approximators, GANs are asymptotically consistent. Variational autoencoders might be universal approximators, but it is not proven as of 2017. == Mathematical properties == === Measure-theoretic considerations === This section provides some of the mathematical theory behind these methods. In modern probability theory based on measure theory, a probability space also needs to be equipped with a σ-algebra. As a result, a more rigorous definition of the GAN game would make the following changes:Each probability space ( Ω , B , μ ref ) {\displaystyle (\Omega ,{\mathcal {B}},\mu _{\text{ref}})} defines a GAN game. The generator's strategy set is P ( Ω , B ) {\displaystyle {\mathcal {P}}(\Omega ,{\mathcal {B}})} , the set of all probability measures μ G {\displaystyle \mu _{G}} on the measure-space ( Ω , B ) {\displaystyle (\Omega ,{\mathcal {B}})} . The discriminator's strategy set is the set of Markov kernels μ D : ( Ω , B ) → P ( [ 0 , 1 ] , B ( [ 0 , 1 ] ) ) {\displaystyle \mu _{D}:(\Omega ,{\mathcal {B}})\to {\mathcal {P}}([0,1],{\mathcal {B}}([0,1]))} , where B ( [ 0 , 1 ] ) {\displaystyle {\mathcal {B}}([0,1])} is the Borel σ-algebra on [ 0 , 1 ] {\displaystyle [0,1]} .Since issues of measurability never arise in practice, these will not concern us further. === Choice of the strategy set === In the most generic version of the GAN game described above, the strategy set for the discriminator contains all Markov kernels μ D : Ω → P [ 0 , 1 ] {\displaystyle \mu _{D}:\Omega \to {\mathcal {P}}[0,1]} , and the strategy set for the generator contains arbitrary probability distributions μ G {\displaystyle \mu _{G}} on Ω {\displaystyle \Omega } . However, as shown below, the optimal discriminator strategy against any μ G {\displaystyle \mu _{G}} is deterministic, so there is no loss of generality in restricting the discriminator's strategies to deterministic functions D : Ω → [ 0 , 1 ] {\displaystyle D:\Omega \to [0,1]} . In most applications, D {\displaystyle D} is a deep neural network function. As for the generator, while μ G {\displaystyle \mu _{G}} could theoretically be any computable probability distribution, in practice, it is usually implemented as a pushforward: μ G = μ Z ∘ G − 1 {\displaystyle \mu _{G}=\mu _{Z}\circ G^{-1}} . That is, start with a random variable z ∼ μ Z {\displaystyle z\sim \mu _{Z}} , where μ Z {\displaystyle \mu _{Z}} is a probability distribution that is easy to compute (such as the uniform distribution, or the Gaussian distribution), then define a function G : Ω Z → Ω {\displaystyle G:\Omega _{Z}\to \Omega } . Then the distribution μ G {\displaystyle \mu _{G}} is the distribution of G ( z ) {\displaystyle G(z)} . Consequently, the generator's strategy is usually defined as just G {\displaystyle G} , leaving z ∼ μ Z {\displaystyle z\sim \mu _{Z}} implicit. In this formalism, the GAN game objective is L ( G , D ) := E x ∼ μ ref ⁡ [ ln ⁡ D ( x ) ] + E z ∼ μ Z ⁡ [ ln ⁡ ( 1 − D ( G ( z ) ) ) ] . {\displaystyle L(G,D):=\operatorname {E} _{x\sim \mu _{\text{ref}}}[\ln D(x)]+\operatorname {E} _{z\sim \mu _{Z}}[\ln(1-D(G(z)))].} === Generative reparametrization === The GAN architecture has two main components. One is casting optimization into a game, of form min G max D L ( G , D ) {\displaystyle \min _{G}\max _{D}L(G,D)} , which is different from the usual kind of optimization, of form min θ L ( θ ) {\displaystyle \min _{\theta }L(\theta )} . The other is the decomposition of μ G {\displaystyle \mu _{G}} into μ Z ∘ G − 1 {\displaystyle \mu _{Z}\circ G^{-1}} , which can be understood as a reparametrization trick. To see its significance, one must compare GAN with previous methods for learning generative models, which were plagued with "intractable probabilistic computations that arise in maximum likelihood estimation and related strategies". At the same time, Kingma and Welling and Rezende et al. developed the same idea of reparametrization into a general stochastic backpropagation method. Among its first applications was the variational autoencoder. === Move order and st

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  • AI-generated content in American politics

    AI-generated content in American politics

    In American politics since the 2020s, political figures have deployed AI-generated images, videos, and audio to attack opponents, create misleading narratives, or inflame emotions. The use of generative AI by American political figures has been subject to criticism from many sides of the political spectrum. Republican president Donald Trump has notably used generative AI in several posts to Truth Social during his second term, many of which have made headlines due to their inflammatory nature. == Background == Generative artificial intelligence is a subfield of artificial intelligence that uses generative models to generate text, images, videos, audio, software code or other forms of data. In the mid 2020s with the release of 15.ai, ChatGPT, DALL-E and other generative artificial intelligence applications there was an AI boom. There has been an increase of usage of generative-AI within the United States political field during this boon, with both Republican and Democratic party members using it. The Trump administration during his second term, have embraced the use of AI-generated images, causing some misinformation experts to raise concerns about the continued usage would cause the erosion of public perception of the truth. In response to some criticisms White House deputy communications director Kaelan Dorr posted on X that the "memes will continue" with White House deputy press secretary Abigail Jackson also mocking concerns. == History of usage == === 2023 === In April 2023, the Republican National Committee released an attack ad made entirely with AI-generated images depicting a dystopian future under Joe Biden's re-election. === 2024 === Generative AI has increased the efficiency with which political candidates were able to raise money by analyzing donor data and identifying possible donors and target audiences. In March 2024 Democratic consultant working for Dean Phillips has admitted to using AI to generate a robocall which used Joe Biden's voice to discourage voter participation. In August 2024, The Atlantic noted that AI slop was becoming associated with the political right in the United States, who were using it for shitposting and engagement farming on social media, with the technology offering "cheap, fast, on-demand fodder for content". AI slop is frequently used in political campaigns in an attempt at gaining attention through content farming. === 2025 === The initial version of the Make Our Children Healthy Again Assessment of children's health issues, released by a commission of cabinet members and officials of the Trump administration, and led by US Department of Health and Human Services Secretary Robert F. Kennedy Jr., reportedly cited nonexistent and garbled references generated using artificial intelligence. Democratic governor Gavin Newsom has used AI-generated images to criticize Trump. In the midst of disruptions to food stamp distribution during the 2025 US government shutdown, anonymous social media users began using OpenAI's Sora to post slop videos of welfare queens complaining, stealing, and rioting in supermarkets; many comments to the videos appeared unaware that they were AI-generated, or acknowledged that they were AI-generated but nonetheless useful in pushing a narrative of widespread welfare fraud. On September 6, 2025, Trump posted an image on Truth Social making a reference to "Chipocalypse Now". Trump's post consisted of an AI-generated image showing Trump frowning and wearing a U.S. Cavalry hat and sunglasses, in front of Lake Michigan with the city of Chicago behind him with a smoke and fire spread across the background with five U.S. Army helicopters in the sky. The words "Chipocalypse Now" are rendered in a font resembling that in which the title of the 1979 film Apocalypse Now was styled. === 2026 === On February 5, 2026, Donald Trump shared a video of Barack and Michelle Obama depicted as apes in a Truth Social post. The two-second AI-generated clip of the Obamas portrayed as apes set to "The Lion Sleeps Tonight" appeared at the end of a one-minute two second long video, the rest of which was about false claims of voter fraud during the 2020 presidential election. The post received at least 4,650 likes, 409 comments, and 1,470 reTruths before it was deleted the next morning. The short clip was part of a longer AI-generated video posted in October 2025. The post received widespread backlash and bipartisan condemnation of the video as racist. In April 2026, Trump posted a picture of himself depicted as Jesus, drawing widespread criticism from Evangelicals and Catholics, resulting in Trump deleting the post hours later and claiming he believed he was depicted as a doctor. == Examples of use == === Election campaigns === In 2023, while he was still running for re-election, the presidential campaign of Joe Biden prepared a task force to respond to AI images and videos. The campaign for the 2024 Republican nominee, Donald Trump, has used deepfake videos of political opponents in campaign ads and fake images showing Trump with black supporters. During the first five months of his second term in 2025, Trump posted several AI-generated images of himself on official government social media accounts, including him as the Pope, him as a Jedi, and him as a muscular man. In August 2024, Trump posted a series of AI-generated images on his social media platform, Truth Social, that portrayed fans of the singer Taylor Swift in "Swifties for Trump" T-shirts, as well as a photo of the singer herself appearing to endorse Trump's 2024 presidential campaign. The images originated from the conservative Twitter account @amuse, which posted numerous AI slop images leading up to the 2024 United States elections that were shared by other high-profile figures within the US Republican Party, such as Elon Musk, who has publicly endorsed the utilization of generative AI, furthering this association. In 2024, Michigan GOP candidate Anthony Hudson posted an AI-generated video showing Martin Luther King Jr. endorsing his campaign, later claiming it was uploaded by a volunteer. In his 2025 bid to be the Democratic nominee for governor of New Jersey, Rep. Josh Gottheimer drew attention and criticism when he released a TV ad that used AI to portray him as a shirtless boxer sparring with Donald Trump in a boxing ring. In November 2025, the campaign of Mike Collins, a GOP candidate in the 2026 United States Senate election in Georgia released a fake video, generated by artificial intelligence, that depicted Democrat Jon Ossoff defending his vote on the 2025 United States federal government shutdown by declaring he could never say no to Chuck Schumer and that SNAP recipients did not attend his out-of-state fundraisers. The Collins campaign also shared an AI-generated video featuring Collins as a shirtless blue jeans model, referencing an American Eagle Outfitters advertisement featuring Sydney Sweeney. During the 2026 Los Angeles mayoral election, candidate Spencer Pratt reposted an AI-generated video portraying Pratt as Batman and prominent California politicians such as Karen Bass, Gavin Newsom, and Kamala Harris, as unruly aristocrats. Former governor of Florida Jeb Bush described the ad as “maybe the best political ad of the year.” In response, a spokesperson for Bass's campaign said, he was "doing his best Trump impression." Bass further responded that the AI ads are "taking on a violent trend." === Protests === In response to the nation-wide No Kings protests in October 2025, Donald Trump posted a video depicting himself flying a fighter jet and releasing feces on crowds of demonstrators, including Democratic influencer Harry Sisson. === Foreign interference === Officials from the ODNI and FBI have stated that Russia, Iran, and China used generative artificial intelligence tools to create fake and divisive text, photos, video, and audio content to foster anti-Americanism and engage in covert influence campaigns. The use of artificial intelligence was described as an accelerant rather than a revolutionary change to influence efforts. Regulation of AI with regard to elections was unlikely to see a resolution for most of the 2024 United States general election season. === Disasters and wars === In the aftermath of Hurricane Helene in the United States, members of the Republican Party circulated an AI-generated image of a young girl holding a puppy in a flood, and used it as evidence of the failure of President Joe Biden to respond to the disaster. Some, like Trump supporter Amy Kremer, shared the image on social media but acknowledged that it was not genuine. In February 2025, Donald Trump shared an AI-generated video on Truth Social depicting a hypothetical Gaza after a Trump takeover. The video's creator claimed it was made as political satire. == Reception == Ramesh Srinivasan, a professor at UCLA raised concerns about the use of AI-generative images stating that many people are questioning where they can find trustab

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