AI Generator Free Online

AI Generator Free Online — independent reviews, comparisons, pricing and step-by-step guides on Aizhi.

  • Tokken

    Tokken

    Tokken is a payment system and mobile app most known for being a legal and secure option for businesses transactions within the cannabis industry, because of its compliance with bank requirements. The startup company was created by Lamine Zarrad, a former regulator at the Office of the Comptroller of the Currency. == Operability == In order for a person to start using the app, they need to provide evidence, in the form of bioidentification data and mobile carrier records, that they can legally purchase weed. After they have been verified, customers can pay directly through the app at any dispensary that is using Tokken. Tokken turns credit card transactions into a digital token, which can be exchanged back for money that can later be deposited into a bank account. All transactions are logged publicly through a blockchain leger, making the process both anonymous and verified. === Banking services === Tokken has a "pay taxes" function which enables dispensaries to pay their taxes directly to the department.

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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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  • Take Us to Your Chief: and Other Stories

    Take Us to Your Chief: and Other Stories

    Take Us to Your Chief: and Other Stories is a collection of nine short stories by Canadian author, playwright, and journalist Drew Hayden Taylor published in 2016 by Douglas & McIntyre. Taylor, who is part Caucasian, part Ojibwe, explains in the acknowledgments section of the book that the origin of the project lies in several failed attempts "to compile an anthology of Native sci-fi from Canada’s best First Nations writers." The stories explore contemporary First Nations social issues through employing a number of 1950s-era science fiction tropes and themes in these stories, including time travel, alien contact, and superpowers. Many reviews of the books have noted Taylor's use of humor to examine dark subject matter, such as the heritage of Canadian Indian residential schools, First Nations suicide rates, or the water quality crisis on Canadian reserves. == The Stories == "Andrei nas" "I Am...Am I" "Lost in Space" "Dreams of Doom" "Mr. Gizmo" "Petropaths" "Stars" "Superdisappointed" "Take Us to Your Chief" == Story summaries == === Foreword === In his foreword, Taylor describes the genesis of Take Us to Your Chief: and Other Stories and invites readers into, in his term, a “new terra nullius.” He begins by describing his biracial upbringing and heritage. He points out that First Nations people are rarely associated with technology or science fiction, in part because Indigenous peoples were often at a technological disadvantage against European colonizers. He references the few examples that he can think of from popular culture, such as the Star Trek episode called “The Paradise Syndrome,” in which First Nations people are portrayed as stereotypical Indians in hippie clothing. He also elaborates on his fascination with the world of sci-fi, which first started in comic books. He enjoyed the literary work of H.G. Wells, such as The Time Machine and The Invisible Man. Since sci-fi is a world of endless opportunities, he intends that these short stories help people explore science fiction through Native peoples’ minds, something that needs to be explored more thoroughly. === "A Culturally Inappropriate Armageddon" === “A Culturally Inappropriate Armageddon” is set on a Haudenosaunee reserve, towards the end of the Oka Crisis, with a handful of people that work at its first ever radio station, C-RES, which opens in 1991. Part 1, titled “C-Res Is on the Air,” depicts Emily, Aaron, and Tracey on their first days at the station. Within the group, there is a constant debate between broadcasting popular programming, including science fiction and film reviews, and culturally-relevant programming meant to aid in cultural revitalization efforts. One night, Aaron is late to work but once he shows up he can't stop talking about radio transmissions broadcasting into deep space, an event that has been occurring since the initial discovery of the radio waves by Heinrich Hertz. The story then skips ahead seven years to 1998, when Emily is struggling to find better content for her station until Tracey stumbles upon an old anthropological record named “The Calling Song” that they decide to broadcast to their audience. The story then jumps to the year 2018 where they are all huddled around a television watching a news station reporting that extraterrestrial life is heading towards them. The discussion of what is going to happen comes into the picture and they all decide it would either be like Contact or The Day the Earth Stood Still. A year later in 2019, the aliens have invaded the planet and destroyed everything. As the three former radio station employees suffer from radioactive fallout, they realize that the aliens received the broadcast of “The Calling Song” and took it as a message to come to Earth. They thus realize that the Haudenosaunee people were inadvertently responsible for the destruction of the Earth. Part 2, titled “Old Men and Old Sayings,” tells us of an elderly man that is watching the news and listening to the radio about a spaceship coming to earth. He knows that he and everyone will die, but the people around him are excited. He finds a book on his night stand and flips to a page where he underlined a sentence a long time ago about the European colonization of the Americas. That sentence reads “those who cannot remember the past are condemned to repeat it” (23). He closes the book and Taylor concludes the story by writing, “he hated it when white people were right." === "I Am...Am I" === “I Am...Am I” chronicles the accidental creation and unexpected ending of artificial intelligence. Professor Mark King has a plethora of degrees and works for a research firm called FUTUREVISION. One night as Professor King searches the lab for his car keys—a common occurrence for him—he notices something unusual in the Matrix room. He reads on a computer the phrase “I am.” First believing it to be a prank, King later comes to the realization that his Matrix project has evolved into a responsive Artificial Intelligence. After this realization, Professor King calls his peer Dr. Gayle Chambers to further investigate this miraculous event. After receiving approval from their superiors, Professor King and Dr. Chambers move forward in feeding the AI information, with Chambers serving as the lead communicator. With more information, it becomes increasingly concerned with its own existence and the concept of whether it has a soul. After several days of conversation with the AI, Chambers and King begin to feel uneasy about the AI's responses, which show signs of neuroses. Despite this behavior, Chambers decides to feed the AI information about the culture and history of the human race. Upon receiving this information, the AI becomes obsessed with Indigenous spirituality prior to the colonization of the Americas, and it requests more information on First Nations people. Dr. Chambers is hesitant at first, but gives in and continues to feed the AI the information with the intention to return to it in the morning. This leads to the AI finding out about colonization and genocide of Indigenous peoples. Upon her arrival the next day, Chambers discovers that the code for the AI has been completely wiped from the hard drive and a single message is left on the screen—"I was”—that signifies the AI's suicide. === "Lost in Space" === "Lost in Space" is told from the perspective of Mitchell, an Anishinabe astrosurveyor who is aboard a space shuttle on a two-year tour collecting rocks from an asteroid belt. He is accompanied by an Artificial general intelligence named Mac, short for “machine.” Mac is aboard this tour in order to accompany Mitchell and keep him sane; however, his company is a burden because for Mitchell, “true space exploration consists largely of boredom.” In the midst of Mitchell seeking a way to occupy his downtime, Mac interrupts with news about his grandfather, Papa Peter, dying. Papa Peter was Mitchell's only real tie to his Indigenous identity. After receiving the news Mitchell begins to reminisce on all of the things Papa Peter had taught him throughout his life. He constantly posed questions concerning the world above (Father Sky) and how it is more important than the land they live on (Mother Earth), which eventually led Mitchell to the selection of his career. During his state of mourning, Mitchell begins to go through all the videos his grandfather had sent him throughout his space tours. Papa Peter had sent Mitchell videos from Otter Lake, a First Nations reserve; these videos are about controversial topics regarding being both native and an astronaut. In the midst of Mitchell's grieving, Mac tries to relieve the situation by finding an online video of Mitchell's grandfather participating in a drum ceremony at Ottawa’s National Aboriginal Day festival. He reconnects to his roots and his grandfather’s spirit as he listens to the Indigenous music by feeling the drum beat and humming along. Mac’s small act of kindness leads Mitchell to gain a new-found appreciation for his presence. Mitchell feels responsible to moving forward in his life in memory of Papa Peter. === "Dreams of Doom" === "Dreams of Doom" is narrated by an Ojibway reporter named Pamela Wanishin who works for an aboriginal newspaper called the West Wind. One day she receives a mysterious package with a broken dreamcatcher and a flash drive containing highly classified files. As she reads the files, she keeps seeing the term “Project Nightlight,” and out of curiosity, she Googles it. Once she Googles this, she is contacted by a nameless agent from Indigenous and Northern Affairs Canada and told that she must be relocated because the knowledge she now possesses must never be released to the public. She quickly flees the area to a cabin at Otter Lake, owned by a family member, to lie low for a few days. Eventually, the government organization tracks her down using drones, which forces her to fight back and flee once again. Pamela then runs to her friend and coworker Sally's hous

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  • Defuzzification

    Defuzzification

    Defuzzification is the process of producing a quantifiable result in crisp logic, given fuzzy sets and corresponding membership degrees. It is the process that maps a fuzzy set to a crisp set. It is typically needed in fuzzy control systems. These systems will have a number of rules that transform a number of variables into a fuzzy result, that is, the result is described in terms of membership in fuzzy sets. For example, rules designed to decide how much pressure to apply might result in "Decrease Pressure (15%), Maintain Pressure (34%), Increase Pressure (72%)". Defuzzification is interpreting the membership degrees of the fuzzy sets into a specific decision or real value. The simplest but least useful defuzzification method is to choose the set with the highest membership, in this case, "Increase Pressure" since it has a 72% membership, and ignore the others, and convert this 72% to some number. The problem with this approach is that it loses information. The rules that called for decreasing or maintaining pressure might as well have not been there in this case. A common and useful defuzzification technique is center of gravity. First, the results of the rules must be added together in some way. The most typical fuzzy set membership function has the graph of a triangle. Now, if this triangle were to be cut in a straight horizontal line somewhere between the top and the bottom, and the top portion were to be removed, the remaining portion forms a trapezoid. The first step of defuzzification typically "chops off" parts of the graphs to form trapezoids (or other shapes if the initial shapes were not triangles). For example, if the output has "Decrease Pressure (15%)", then this triangle will be cut 15% the way up from the bottom. In the most common technique, all of these trapezoids are then superimposed one upon another, forming a single geometric shape. Then, the centroid of this shape, called the fuzzy centroid, is calculated. The x coordinate of the centroid is the defuzzified value. == Methods == There are many different methods of defuzzification available, including the following: AI (adaptive integration) BADD (basic defuzzification distributions) BOA (bisector of area) CDD (constraint decision defuzzification) COA (center of area) COG (center of gravity) ECOA (extended center of area) EQM (extended quality method) FCD (fuzzy clustering defuzzification) FM (fuzzy mean) FOM (first of maximum) GLSD (generalized level set defuzzification) ICOG (indexed center of gravity) IV (influence value) LOM (last of maximum) MeOM (mean of maxima) MOM (middle of maximum) QM (quality method) RCOM (random choice of maximum) SLIDE (semi-linear defuzzification) WFM (weighted fuzzy mean) The maxima methods are good candidates for fuzzy reasoning systems. The distribution methods and the area methods exhibit the property of continuity that makes them suitable for fuzzy controllers.

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  • Single-page application

    Single-page application

    A single-page application (SPA) is a web application or website that interacts with the user by dynamically rewriting the current web page with new data from the web server, instead of the default method of loading entire new pages. The goal is faster transitions that make the website feel more like a native app. In a SPA, a page refresh never occurs; instead, all necessary HTML, JavaScript, and CSS code is either retrieved by the browser with a single page load, or the appropriate resources are dynamically loaded and added to the page as necessary, usually in response to user actions. == History == The origins of the term single-page application are unclear, though the concept was discussed at least as early as 2003 by technology evangelists from Netscape. Stuart Morris, a programming student at Cardiff University, Wales, wrote the self-contained website at slashdotslash.com with the same goals and functions in April 2002, and later the same year Lucas Birdeau, Kevin Hakman, Michael Peachey and Clifford Yeh described a single-page application implementation in US patent 8,136,109. Earlier forms were called rich web applications. JavaScript can be used in a web browser to display the user interface (UI), run application logic, and communicate with a web server. Mature free libraries are available that support the building of a SPA, reducing the amount of JavaScript code developers have to write. == Technical approaches == There are various techniques available that enable the browser to retain a single page even when the application requires server communication. === Document hashes === HTML authors can leverage element IDs to show or hide different sections of the HTML document. Then, using CSS, authors can use the :target pseudo-class selector to only show the section of the page which the browser navigated to. === JavaScript frameworks === Web browser JavaScript frameworks and libraries, such as Angular, Ember.js, ExtJS, Knockout.js, Meteor.js, React, Vue.js, and Svelte have adopted SPA principles. Aside from ExtJS, all of these are free. AngularJS is a discontinued fully client-side framework. AngularJS's templating is based on bidirectional UI data binding. Data-binding is an automatic way of updating the view whenever the model changes, as well as updating the model whenever the view changes. The HTML template is compiled in the browser. The compilation step creates pure HTML, which the browser re-renders into the live view. The step is repeated for subsequent page views. In traditional server-side HTML programming, concepts such as controller and model interact within a server process to produce new HTML views. In the AngularJS framework, the controller and model states are maintained within the client browser. Therefore, new pages are capable of being generated without any interaction with a server. Angular 2+ is a SPA Framework developed by Google after AngularJS. There is a strong community of developers using this framework. The framework is updated twice every year. New features and fixes are frequently added in this framework. Ember.js is a client-side JavaScript web application framework based on the model–view–controller (MVC) software architectural pattern. It allows developers to create scalable single-page applications by incorporating common idioms and best practices into a framework that provides a rich object model, declarative two-way data binding, computed properties, automatically updating templates powered by Handlebars.js, and a router for managing application state. ExtJS is also a client side framework that allows creating MVC applications. It has its own event system, window and layout management, state management (stores) and various UI components (grids, dialog windows, form elements etc.). It has its own class system with either dynamic or static loader. The application built with ExtJS can either exist on its own (with state in the browser) or with the server (e.g. with REST API that is used to fill its internal stores). ExtJS has only built in capabilities to use localStorage so larger applications need a server to store state. Knockout.js is a client side framework which uses templates based on the Model-View-ViewModel pattern. Meteor.js is a full-stack (client-server) JavaScript framework designed exclusively for SPAs. It features simpler data binding than Angular, Ember or ReactJS, and uses the Distributed Data Protocol and a publish–subscribe pattern to automatically propagate data changes to clients in real-time without requiring the developer to write any synchronization code. Full stack reactivity ensures that all layers, from the database to the templates, update themselves automatically when necessary. Ecosystem packages such as Server Side Rendering address the problem of search engine optimization. React is a JavaScript library for building user interfaces. It is maintained by Facebook, Instagram and a community of individual developers and corporations. React uses a syntax extension for JavaScript, named JSX, which is a mix of JS and HTML (a subset of HTML). Several companies use React with Redux (JavaScript library) which adds state management capabilities, which (with several other libraries) lets developers create complex applications. Vue.js is a JavaScript framework for building user interfaces. Vue developers also provide Pinia for state management. Svelte is a framework for building user interfaces that compiles Svelte code to JavaScript DOM (Document Object Model) manipulations, avoiding the need to bundle a framework to the client, and allowing for simpler application development syntax. ==== Capabilities and trade-offs in modern frameworks ==== JavaScript-based web application frameworks, such as React and Vue, provide extensive capabilities but come with associated trade-offs. These frameworks often extend or enhance features available through native web technologies, such as routing, component-based development, and state management. While native web standards, including Web Components, modern JavaScript APIs like Fetch and ES Modules, and browser capabilities like Shadow DOM, have advanced significantly, frameworks remain widely used for their ability to enhance developer productivity, offer structured patterns for large-scale applications, simplify handling edge cases, and provide tools for performance optimization. Frameworks can introduce abstraction layers that may contribute to performance overhead, larger bundle sizes, and increased complexity. Modern frameworks, such as React 18 and Vue 3, address these challenges with features like concurrent rendering, tree-shaking, and selective hydration. While these advancements improve rendering efficiency and resource management, their benefits depend on the specific application and implementation context. Lightweight frameworks, such as Svelte and Preact, take different architectural approaches, with Svelte eliminating the virtual DOM entirely in favor of compiling components to efficient JavaScript code, and Preact offering a minimal, compatible alternative to React. Framework choice depends on an application’s requirements, including the team’s expertise, performance goals, and development priorities. A newer category of web frameworks, including enhance.dev, Astro, and Fresh, leverages native web standards while minimizing abstractions and development tooling. These solutions emphasize progressive enhancement, server-side rendering, and optimizing performance. Astro renders static HTML by default while hydrating only interactive parts. Fresh focuses on server-side rendering with zero runtime overhead. Enhance.dev prioritizes progressive enhancement patterns using Web Components. While these tools reduce reliance on client-side JavaScript by shifting logic to build-time or server-side execution, they still use JavaScript where necessary for interactivity. This approach makes them particularly suitable for performance-critical and content-focused applications. === WebAssembly-based frameworks === The following frameworks utilize WebAssembly or can build single-page applications (SPAs) with WebAssembly as a core technology or support mechanism. These frameworks enable high-performance and interactive client-side development, extending the SPA paradigm across languages and ecosystems. Avalonia is primarily a cross-platform desktop UI framework, but experimental support for WebAssembly allows it to be used for SPA development. It has an XAML-based UI design and native-style application features. Blazor WebAssembly is a .NET-based framework that allows developers to build SPAs using C# and Razor syntax. It runs .NET code in the browser via WebAssembly, enabling a full-stack .NET development experience without relying on JavaScript. Flutter on the Web extends Flutter’s cross-platform development capabilities to web-based SPAs. Using Dart and its Skia graphics engine, Flutter allows developers to create visually rich SPAs that

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  • Smart speaker

    Smart speaker

    A smart speaker is a type of loudspeaker and voice command device with an integrated virtual assistant that offers interactive actions and hands-free activation with the help of one "wake word" (or several "wake words"). Some smart speakers also act as smart home hubs by using Wi-Fi, Bluetooth, Thread, and other protocol standards to extend usage beyond audio playback and control home automation devices connected through a local area network. == History == Early voice-activated devices began in 2013 with MIT's Jasper project, which used multiple microphones and cloud software to power hands-free interactions from across a room. The first commercial smart speaker was the Amazon Echo, which was released in 2014 powered by Alexa and a ring of far-field microphones. Google followed in 2016 with Home, powered by Google Assistant. By 2017, devices like the Echo Show and Home Hub (later called Nest Hub) added touchscreens and video, creating the "smart display" subcategory. In 2018, Apple joined the smart speaker trend by launching the HomePod, which focused on high-quality audio alongside their built-in assistant Siri. ASUS release its own smart Speaker Xiao-Bu in 2019 with Artificial Intelligence, it terminates the Cloud Service on June 1st, 2025, which means all real-time service such as weather, news, currency conversion is affected. Sonos's 1st smart speaker Sonos One released in 2017, powered by Alexa. Invoke by Harman Kardon was powered by Microsoft's intelligent personal assistant, Cortana. In the early 2020s, smart speakers gained on-device voice processing for faster responses and improved privacy. New standards such as Matter and Thread allowed multitudes of smart-home devices (even from completely different brands) to work together. == Features == === Audio and Voice === Smart speakers use multiple microphones along with noise-cancelling software to pick up your voice from across the room, even when music is playing or the assistant is already talking. Noise suppression and echo cancellation is also used by the speaker so it can focus in on who is talking and ignore any background noises. Most smart speaker models can recognize who is speaking by voiceprint, which allows the speaker to grab information from that person's calendar, preferences, or music playlists. Listening to music on a speaker is when importance for good audio quality becomes apparent. Entry-level (cheaper) speakers such as the Home Mini or the Echo Dot have a single full-range driver. These lower-end speakers typically aren't great for listening to music as the audio quality is pretty poor. More advanced units such as the Home Max or Echo Studio have separate tweeters and woofers meant for listening to music in high quality. === Connectivity and smart-home control === Most connect over Wi-Fi or Bluetooth and support hub protocols like Thread and Matter. That lets them not only stream and play music but also allows you to control various brands of smart lights, thermostats, door locks, cameras, and much more-all from one point of control. Each can have its own designated interface and features in-house, usually launched or controlled via application or home automation software. These devices are able to communicate with each other via peer-to-peer connection through mesh networking. These speakers and related smart devices are typically controlled with one smartphone application. === Assistant services and skills === The built-in assistants handle timers, alarms, reminders, news briefings, weather updates, send messages to other smart devices, send texts, make calls, and simple questions. You can combine actions together in what are typically known as routines (for example saying "good morning" turns on lights, starts the coffee, says the weather, and reads the news) and add extra functions known as skills or actions (for things like ordering food or playing trivia games). This hands-free use of smart speakers can help assist those with disabilities. Most other technologies need the user to be able to physically interact with the device. Smart speakers are not bound by these limitations and can serve as an excellent tool for those who are unable to use their arms or legs or have vision issues. Although these tasks can be completed by a phone or computer, consumers tend to lean towards smart speakers due to factors such as their range being much greater than that of a phone and the need to not have to physically interact with the speaker to get the voice assistant as with most smartphones, certain parts of a phone may need to be interacted with to activate the speaking assistant. === Smart displays === Some smart speakers also include a screen to show the user a visual response. A smart speaker with a touchscreen is known as a smart display; these integrate a conversational user interface with display screens to augment voice interaction with images and video. They are powered by one of the common voice assistants and offer additional controls for smart home devices, feature streaming apps, and web browsers with touch controls for selecting content. The first smart displays were introduced in 2017 by Amazon (Amazon Echo Show) and Google (Google/Nest Home Hub). Hotel chain Marriott International partnered with Amazon to install Echo devices in select hotels since 2018. A Taiwanese startup, Aiello, launched the Aiello Voice Assistant (AVA) in the Asian hotel market in 2019, claiming it is powered by a multi-AI model system. Angie by Nomadix, which is similar to the Amazon Echo, launched its first product in 2017, specifically targeting hotel properties in the North America. In May 2019, Angie Hospitality acquired the assets of Roxy, a competitor that also built its own speech-enabled virtual assistant technology for hotels. This acquisition merged two proprietary NLP stacks into the current Nomadix product. === Artificial intelligence === The newest speakers can use on-device AI or cloud-based generative models to allow the smart speaker to carry on much more natural conversations, draft emails or recipes, suggest ideas based on context, or even create short pieces of music or art. This AI evolution allows these speakers to do far more than what they could do before. == Accuracy == According to a study by Proceedings of the National Academy of Sciences of the United States of America released In March 2020, the six biggest tech development companies, Amazon, Apple, Google, Yandex, IBM and Microsoft, have misidentified more words spoken by "black people" than "white people". The systems tested errors and unreadability, with a 19 and 35 percent discrepancy for the former and a 2 and 20 percent discrepancy for the latter. The North American Chapter of the Association for Computational Linguistics (NAACL) also identified a discrepancy between male and female voices. According to their research, Google's speech recognition software is 13 percent more accurate for men than women. It performs better than the systems used by Bing, AT&T, and IBM. == Privacy concerns == The built-in microphone in smart speakers is continuously listening for wake words followed by a command. However, these continuously listening microphones also raise privacy concerns among users. According to a survey taken by 1,007 people in Western Europe, it is clear that privacy is the biggest concern holding consumers back from buying "smart" products. these concerns include what is being recorded, how the data will be used, how it will be protected, and whether it will be used for invasive advertising. Furthermore, an analysis of Amazon Echo Dots showed that 30–38% of "spurious audio recordings were human conversations", suggesting that these devices capture audio other than strictly detection of the wake word. === As a wiretap === There are strong concerns that the ever-listening microphone of smart speakers presents a perfect candidate for wiretapping. In 2017, British security researcher Mark Barnes showed that pre-2017 Echos have exposed pins which allow for a compromised OS to be booted. According to Umar Iqbal, an assistant professor at Washington University in St. Louis, research indicates that data from consumer interactions with Alexa was used to targeted advertisements and products to consumer with over 40% of transmitted data lacking proper encryption raising privacy concerns. Further data indicates that due to the Smart Speakers ability to always capture audio, it begins to pick up on external conversations from consumers not related to commands given to the smart speaker. Things such as other members in the household, consumers on the phone and even TV audio can be picked up by these speakers and stored for future use by companies. === Voice assistance vs privacy === While voice assistants provide a valuable service, there can be some hesitation towards using them in various social contexts, such as in public or around other users. However, only more recently have users begun interac

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  • SF8

    SF8

    SF8 (Korean: 에스 에프 에잇) is a South Korean science fiction anthology television series. It is a movie-drama crossover project between MBC, the Directors Guild of Korea, the OTT platform Wavve and the production company Soo Film. The director's cuts of all episodes were released on Wavve on July 10, 2020 while MBC TV aired one episode a week from August 14 to October 9, 2020. The series has been regarded as a Korean equivalent of the British series Black Mirror as they have the same format and similar themes, though Min Kyu-dong believes that SF8 is more diversified since eight different filmmakers were involved in the project. SF8 was screened at the 24th Bucheon International Fantastic Film Festival. == Synopsis == SF8 revolves around people who dream of a perfect society. It tackles the themes of artificial intelligence, augmented reality, virtual reality, robots, games, fantasy, horror, superpowers and disasters. == Episodes == Short summaries adapted from BiFan. == Production == === Development === Min Kyu-dong, creator of the series, said that "sci-fi movies were the driving force behind many movie directors' dreams. Unfortunately, due to the relatively high budget and narrow market limitations, various works were not able to be produced." He had been working on this project for two years before he partnered with Wavve and MBC. He also took charge of casting the actors, which lasted for a year. During a press conference held at CGV Yongsan I'Park Mall in Seoul on July 8, 2020, Min Kyu-dong said that all the episodes were produced with an equal amount of budget and that the overall budget was lower than one of a small commercial film. Roh Deok, who co-wrote and directed the "Manxin" episode, mentioned that "while commercial film productions [...] inevitably limit the directors' freedom as a creator, [they] had more independence in production" and "although there were physical limits, [he] thinks [they] went through the process of discovering what [they] can do inside those boundaries." === Filming === Eight directors from the Directors Guild of Korea (DGK) each directed an episode from the series. Filming began on February 21, 2020 with Jang Cheol-soo's "White Crow" and ended on May 7 with Kim Ui-seok's "Empty Body". Filming was completed within 10 filming sessions for each episode. === Credits === Credits adapted from BiFan. == Release == The director's cut was released on the OTT platform Wavve on July 10, 2020 and the original episodes were aired on MBC TV from August 14 to October 9.

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  • Feeding the Machine (book)

    Feeding the Machine (book)

    Feeding the Machine: The Hidden Human Labour Powering AI is a 2024 book by James Muldoon, Mark Graham and Callum Cant. == Writing == The authors developed the concept for the book while doing fieldwork studying data annotation in developing countries in East Africa. == Synopsis == The book examines the human input needed to develop and sustain AI ecosystems. == Reception == The book received positive reviews. Rosalie Waelen of Capital & Class gave it a mostly positive review. Tim Hornyak of Literary Review praised it. Kirkus Reviews called it "A sobering and timely—if sometimes distracted—study of AI.". Publishers Weekly gave the book a starred review, writing that "The grim real-life stories read like dystopian parables, such as the account of a European voice actor whose recordings were legally used without her consent to create an inexpensive synthetic clone whom she now competes with for business. Driven by striking reporting and finely observed profiles, this unsettles."

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  • Data augmentation

    Data augmentation

    Data augmentation is a statistical technique which allows maximum likelihood estimation from incomplete data. Data augmentation has important applications in Bayesian analysis, and the technique is widely used in machine learning to reduce overfitting when training machine learning models, achieved by training models on several slightly-modified copies of existing data. == Synthetic oversampling techniques for traditional machine learning == Synthetic Minority Over-sampling Technique (SMOTE) is a method used to address imbalanced datasets in machine learning. In such datasets, the number of samples in different classes varies significantly, leading to biased model performance. For example, in a medical diagnosis dataset with 90 samples representing healthy individuals and only 10 samples representing individuals with a particular disease, traditional algorithms may struggle to accurately classify the minority class. SMOTE rebalances the dataset by generating synthetic samples for the minority class. For instance, if there are 100 samples in the majority class and 10 in the minority class, SMOTE can create synthetic samples by randomly selecting a minority class sample and its nearest neighbors, then generating new samples along the line segments joining these neighbors. This process helps increase the representation of the minority class, improving model performance. == Data augmentation for image classification == When convolutional neural networks grew larger in mid-1990s, there was a lack of data to use, especially considering that some part of the overall dataset should be spared for later testing. It was proposed to perturb existing data with affine transformations to create new examples with the same labels, which were complemented by so-called elastic distortions in 2003, and the technique was widely used as of 2010s. Data augmentation can enhance CNN performance and acts as a countermeasure against CNN profiling attacks. Data augmentation has become fundamental in image classification, enriching training dataset diversity to improve model generalization and performance. The evolution of this practice has introduced a broad spectrum of techniques, including geometric transformations, color space adjustments, and noise injection. === Geometric Transformations === Geometric transformations alter the spatial properties of images to simulate different perspectives, orientations, and scales. Common techniques include: Affine Transformation Rotation: Rotating images by a specified degree to help models recognize objects at various angles. Reflection: Reflecting images horizontally or vertically to introduce variability in orientation. Translation: Shifting images in different directions to teach models positional invariance. Scaling Shear Mapping Cropping: Removing sections of the image to focus on particular features or simulate closer views. Elastic Distortion Morphing within the same class: Generating new samples by applying morphing techniques between two images belonging to the same class, thereby increasing intra-class diversity. === Color Space Transformations === Color space transformations modify the color properties of images, addressing variations in lighting, color saturation, and contrast. Techniques include: Brightness Adjustment: Varying the image's brightness to simulate different lighting conditions. Contrast Adjustment: Changing the contrast to help models recognize objects under various clarity levels. Saturation Adjustment: Altering saturation to prepare models for images with diverse color intensities. Color Jittering: Randomly adjusting brightness, contrast, saturation, and hue to introduce color variability. === Noise Injection === Injecting noise into images simulates real-world imperfections, teaching models to ignore irrelevant variations. Techniques involve: Gaussian Noise: Adding Gaussian noise mimics sensor noise or graininess. Salt and Pepper Noise: Introducing black or white pixels at random simulates sensor dust or dead pixels. == Data augmentation for signal processing == Residual or block bootstrap can be used for time series augmentation. === Biological signals === Synthetic data augmentation is of paramount importance for machine learning classification, particularly for biological data, which tend to be high dimensional and scarce. The applications of robotic control and augmentation in disabled and able-bodied subjects still rely mainly on subject-specific analyses. Data scarcity is notable in signal processing problems such as for Parkinson's Disease Electromyography signals, which are difficult to source - Zanini, et al. noted that it is possible to use a generative adversarial network (in particular, a DCGAN) to perform style transfer in order to generate synthetic electromyographic signals that corresponded to those exhibited by sufferers of Parkinson's Disease. The approaches are also important in electroencephalography (brainwaves). Wang, et al. explored the idea of using deep convolutional neural networks for EEG-Based Emotion Recognition, results show that emotion recognition was improved when data augmentation was used. A common approach is to generate synthetic signals by re-arranging components of real data. Lotte proposed a method of "Artificial Trial Generation Based on Analogy" where three data examples x 1 , x 2 , x 3 {\displaystyle x_{1},x_{2},x_{3}} provide examples and an artificial x s y n t h e t i c {\displaystyle x_{synthetic}} is formed which is to x 3 {\displaystyle x_{3}} what x 2 {\displaystyle x_{2}} is to x 1 {\displaystyle x_{1}} . A transformation is applied to x 1 {\displaystyle x_{1}} to make it more similar to x 2 {\displaystyle x_{2}} , the same transformation is then applied to x 3 {\displaystyle x_{3}} which generates x s y n t h e t i c {\displaystyle x_{synthetic}} . This approach was shown to improve performance of a Linear Discriminant Analysis classifier on three different datasets. Current research shows great impact can be derived from relatively simple techniques. For example, Freer observed that introducing noise into gathered data to form additional data points improved the learning ability of several models which otherwise performed relatively poorly. Tsinganos et al. studied the approaches of magnitude warping, wavelet decomposition, and synthetic surface EMG models (generative approaches) for hand gesture recognition, finding classification performance increases of up to +16% when augmented data was introduced during training. More recently, data augmentation studies have begun to focus on the field of deep learning, more specifically on the ability of generative models to create artificial data which is then introduced during the classification model training process. In 2018, Luo et al. observed that useful EEG signal data could be generated by Conditional Wasserstein Generative Adversarial Networks (GANs) which was then introduced to the training set in a classical train-test learning framework. The authors found classification performance was improved when such techniques were introduced. === Mechanical signals === The prediction of mechanical signals based on data augmentation brings a new generation of technological innovations, such as new energy dispatch, 5G communication field, and robotics control engineering. In 2022, Yang et al. integrate constraints, optimization and control into a deep network framework based on data augmentation and data pruning with spatio-temporal data correlation, and improve the interpretability, safety and controllability of deep learning in real industrial projects through explicit mathematical programming equations and analytical solutions.

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  • Computer-automated design

    Computer-automated design

    Design Automation usually refers to electronic design automation, or Design Automation which is a Product Configurator. Extending Computer-Aided Design (CAD), automated design and Computer-Automated Design (CAutoD) are more concerned with a broader range of applications, such as automotive engineering, civil engineering, composite material design, control engineering, dynamic system identification and optimization, financial systems, industrial equipment, mechatronic systems, steel construction, structural optimisation, and the invention of novel systems. The concept of CAutoD perhaps first appeared in 1963, in the IBM Journal of Research and Development, where a computer program was written. to search for logic circuits having certain constraints on hardware design to evaluate these logics in terms of their discriminating ability over samples of the character set they are expected to recognize. More recently, traditional CAD simulation is seen to be transformed to CAutoD by biologically-inspired machine learning, including heuristic search techniques such as evolutionary computation, and swarm intelligence algorithms. == Guiding designs by performance improvements == To meet the ever-growing demand of quality and competitiveness, iterative physical prototyping is now often replaced by 'digital prototyping' of a 'good design', which aims to meet multiple objectives such as maximised output, energy efficiency, highest speed and cost-effectiveness. The design problem concerns both finding the best design within a known range (i.e., through 'learning' or 'optimisation') and finding a new and better design beyond the existing ones (i.e., through creation and invention). This is equivalent to a search problem in an almost certainly, multidimensional (multivariate), multi-modal space with a single (or weighted) objective or multiple objectives. == Normalized objective function: cost vs. fitness == Using single-objective CAutoD as an example, if the objective function, either as a cost function J ∈ [ 0 , ∞ ) {\displaystyle J\in [0,\infty )} , or inversely, as a fitness function f ∈ ( 0 , 1 ] {\displaystyle f\in (0,1]} , where f = J 1 + J {\displaystyle f={\tfrac {J}{1+J}}} , is differentiable under practical constraints in the multidimensional space, the design problem may be solved analytically. Finding the parameter sets that result in a zero first-order derivative and that satisfy the second-order derivative conditions would reveal all local optima. Then comparing the values of the performance index of all the local optima, together with those of all boundary parameter sets, would lead to the global optimum, whose corresponding 'parameter' set will thus represent the best design. However, in practice, the optimization usually involves multiple objectives and the matters involving derivatives are a lot more complex. == Dealing with practical objectives == In practice, the objective value may be noisy or even non-numerical, and hence its gradient information may be unreliable or unavailable. This is particularly true when the problem is multi-objective. At present, many designs and refinements are mainly made through a manual trial-and-error process with the help of a CAD simulation package. Usually, such a posteriori learning or adjustments need to be repeated many times until a ‘satisfactory’ or ‘optimal’ design emerges. == Exhaustive search == In theory, this adjustment process can be automated by computerised search, such as exhaustive search. As this is an exponential algorithm, it may not deliver solutions in practice within a limited period of time. == Search in polynomial time == One approach to virtual engineering and automated design is evolutionary computation such as evolutionary algorithms. === Evolutionary algorithms === To reduce the search time, the biologically-inspired evolutionary algorithm (EA) can be used instead, which is a (non-deterministic) polynomial algorithm. The EA based multi-objective "search team" can be interfaced with an existing CAD simulation package in a batch mode. The EA encodes the design parameters (encoding being necessary if some parameters are non-numerical) to refine multiple candidates through parallel and interactive search. In the search process, 'selection' is performed using 'survival of the fittest' a posteriori learning. To obtain the next 'generation' of possible solutions, some parameter values are exchanged between two candidates (by an operation called 'crossover') and new values introduced (by an operation called 'mutation'). This way, the evolutionary technique makes use of past trial information in a similarly intelligent manner to the human designer. The EA based optimal designs can start from the designer's existing design database, or from an initial generation of candidate designs obtained randomly. A number of finely evolved top-performing candidates will represent several automatically optimized digital prototypes. There are websites that demonstrate interactive evolutionary algorithms for design. allows you to evolve 3D objects online and have them 3D printed. allows you to do the same for 2D images.

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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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  • Netflix Prize

    Netflix Prize

    The Netflix Prize was an open competition for the best collaborative filtering algorithm to predict user ratings for films, based on previous ratings without any other information about the users or films, i.e. without the users being identified except by numbers assigned for the contest. The competition was held by Netflix, a video streaming service, and was open to anyone who was neither connected with Netflix (current and former employees, agents, close relatives of Netflix employees, etc.) nor a resident of certain blocked countries (such as Cuba or North Korea). On September 21, 2009, the grand prize of US$1,000,000 was given to the BellKor's Pragmatic Chaos team which bested Netflix's own algorithm for predicting ratings by 10.06%. == Problem and data sets == Netflix provided a training data set of 100,480,507 ratings that 480,189 users gave to 17,770 movies. Each training rating is a quadruplet of the form . The user and movie fields are integer IDs, while grades are from 1 to 5 (integer) stars. The qualifying data set contains over 2,817,131 triplets of the form , with grades known only to the jury. A participating team's algorithm must predict grades on the entire qualifying set, but they are informed of the score for only half of the data: a quiz set of 1,408,342 ratings. The other half is the test set of 1,408,789, and performance on this is used by the jury to determine potential prize winners. Only the judges know which ratings are in the quiz set, and which are in the test set—this arrangement is intended to make it difficult to hill climb on the test set. Submitted predictions are scored against the true grades in the form of root mean squared error (RMSE), and the goal is to reduce this error as much as possible. Note that, while the actual grades are integers in the range 1 to 5, submitted predictions need not be. Netflix also identified a probe subset of 1,408,395 ratings within the training data set. The probe, quiz, and test data sets were chosen to have similar statistical properties. In summary, the data used in the Netflix Prize looks as follows: Training set (99,072,112 ratings not including the probe set; 100,480,507 including the probe set) Probe set (1,408,395 ratings) Qualifying set (2,817,131 ratings) consisting of: Test set (1,408,789 ratings), used to determine winners Quiz set (1,408,342 ratings), used to calculate leaderboard scores For each movie, the title and year of release are provided in a separate dataset. No information at all is provided about users. In order to protect the privacy of the customers, "some of the rating data for some customers in the training and qualifying sets have been deliberately perturbed in one or more of the following ways: deleting ratings; inserting alternative ratings and dates; and modifying rating dates." The training set is constructed such that the average user rated over 200 movies, and the average movie was rated by over 5000 users. But there is wide variance in the data—some movies in the training set have as few as 3 ratings, while one user rated over 17,000 movies. There was some controversy as to the choice of RMSE as the defining metric. It has been claimed that even as small an improvement as 1% RMSE results in a significant difference in the ranking of the "top-10" most recommended movies for a user. == Prizes == Prizes were based on improvement over Netflix's own algorithm, called Cinematch, or the previous year's score if a team has made improvement beyond a certain threshold. A trivial algorithm that predicts for each movie in the quiz set its average grade from the training data produces an RMSE of 1.0540. Cinematch uses "straightforward statistical linear models with a lot of data conditioning." The performance of Cinematch had plateaued by 2006. Using only the training data, Cinematch scores an RMSE of 0.9514 on the quiz data, roughly a 10% improvement over the trivial algorithm. Cinematch has a similar performance on the test set, 0.9525. In order to win the grand prize of $1,000,000, a participating team had to improve this by another 10%, to achieve 0.8572 on the test set. Such an improvement on the quiz set corresponds to an RMSE of 0.8563. As long as no team won the grand prize, a progress prize of $50,000 was awarded every year for the best result thus far. However, in order to win this prize, an algorithm had to improve the RMSE on the quiz set by at least 1% over the previous progress prize winner (or over Cinematch, the first year). If no submission succeeded, the progress prize was not to be awarded for that year. To win a progress or grand prize a participant had to provide source code and a description of the algorithm to the jury within one week after being contacted by them. Following verification the winner also had to provide a non-exclusive license to Netflix. Netflix would publish only the description, not the source code, of the system. (To keep their algorithm and source code secret, a team could choose not to claim a prize.) The jury also kept their predictions secret from other participants. A team could send as many attempts to predict grades as they wish. Originally submissions were limited to once a week, but the interval was quickly modified to once a day. A team's best submission so far counted as their current submission. Once one of the teams succeeded in improving the RMSE by 10% or more, the jury would issue a last call, giving all teams 30 days to send their submissions. Only then, the team with the best submission was asked for the algorithm description, source code, and non-exclusive license, and, after successful verification; declared a grand prize winner. The contest would last until the grand prize winner was declared. Had no one received the grand prize, it would have lasted for at least five years (until October 2, 2011). After that date, the contest could have been terminated at any time at Netflix's sole discretion. == Progress over the years == The competition began on October 2, 2006. By October 8, a team called WXYZConsulting had already beaten Cinematch's results. By October 15, there were three teams who had beaten Cinematch, one of them by 1.06%, enough to qualify for the annual progress prize. By June 2007 over 20,000 teams had registered for the competition from over 150 countries. 2,000 teams had submitted over 13,000 prediction sets. Over the first year of the competition, a handful of front-runners traded first place. The more prominent ones were: WXYZConsulting, a team of Wei Xu and Yi Zhang. (A front runner during November–December 2006.) ML@UToronto A, a team from the University of Toronto led by Prof. Geoffrey Hinton. (A front runner during parts of October–December 2006.) Gravity, a team of four scientists from the Budapest University of Technology (A front runner during January–May 2007.) BellKor, a group of scientists from AT&T Labs. (A front runner since May 2007.) Dinosaur Planet, a team of three undergraduates from Princeton University. (A front runner on September 3, 2007 for one hour before BellKor snatched back the lead.) The algorithms used by the leading teams were usually an ensemble of singular value decomposition, k-nearest neighbor, neural networks, and so on. On August 12, 2007, many contestants gathered at the KDD Cup and Workshop 2007, held at San Jose, California. During the workshop all four of the top teams on the leaderboard at that time presented their techniques. The team from IBM Research—Yan Liu, Saharon Rosset, Claudia Perlich, and Zhenzhen Kou—won the third place in Task 1 and first place in Task 2. Over the second year of the competition, only three teams reached the leading position: BellKor, a group of scientists from AT&T Labs (front runner during May 2007 – September 2008) BigChaos, a team of Austrian scientists from Commendo Research & Consulting (single team front runner since October 2008) BellKor in BigChaos, a joint team of the two leading single teams (a front runner since September 2008) === 2007 Progress Prize === On September 2, 2007, the competition entered the "last call" period for the 2007 Progress Prize. Over 40,000 teams from 186 countries had entered the contest. They had thirty days to tender submissions for consideration. At the beginning of this period the leading team was BellKor, with an RMSE of 0.8728 (8.26% improvement), followed by Dinosaur Planet (RMSE = 0.8769; 7.83% improvement), and Gravity (RMSE = 0.8785; 7.66% improvement). In the last hour of the last call period, an entry by "KorBell" took first place. This turned out to be an alternate name for Team BellKor. On November 13, 2007, team KorBell (formerly BellKor) was declared the winner of the $50,000 Progress Prize with an RMSE of 0.8712 (8.43% improvement). The team consisted of three researchers from AT&T Labs, Yehuda Koren, Robert Bell, and Chris Volinsky. As required, they published a description of their a

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  • BeReal

    BeReal

    BeReal (stylized on the app logo as BeReal.) is a French social-networking app released in 2020, developed by Alexis Barreyat and Kévin Perreau. Currently, it is owned by Voodoo. Its main feature is a daily notification that encourages users to share photos of themselves in their day-to-day life, on any randomly selected two-minute window every day. Critics noted its emphasis on authenticity, which some felt crossed the line into the mundane. The primary reference of its name relates to its focus on users uploading unpolished photos, with it being a pun of the term B-reel. According to the app's description on Apple's App Store, BeReal encourages its users to "show their friends who they really are, for once," by removing filters and opportunities to stage or edit photos. After a couple of years of relative obscurity, it rapidly gained popularity in early and mid-2022 growing from 21.6 million to 73.5 million users between July and August, before experiencing a decrease in use in 2023 and continuing to decline to 23 million users at the beginning of 2024. == History == The app was developed by Alexis Barreyat, a former employee at GoPro, and Kévin Perreau, a graduate from 42 in Paris. Initially released in 2020, it first gained widespread popularity in early 2022. It first spread widely on college campuses, partially due to a paid ambassador program. In late August 2022, the application had over 10 million active daily users and 21.6 million active monthly users. As of February 2023, the app has grown to 13 million active daily users and 47.8 million active monthly users. In June 2021, BeReal received a $30 million funding round led by Andreessen Horowitz and Accel. In May 2022, BeReal secured $85 million in a funding round led by Yuri Milner's DST Global, increasing its valuation to about $600 million. On July 25, 2022, BeReal topped Apple's free app list in the iOS App Store, and remained until September 2022. BeReal also received Apple's iPhone App of the Year in 2022. By late spring 2023, the app's momentum was waning, as daily users dropped to about 6 million, from 15 million in October 2022. In August 2024, there was a resurgence after a campaign at the Paris Olympics 2024, with the app reportedly gaining 1000 users. In June 2024, BeReal was acquired by the French company Voodoo for a reported €500 million. Alexis Barreyat is set to step down after a transition period. == Features == Once per day, BeReal notifies all users that a two-minute window to post is open. It asks users to create a post (known eponymously as a "BeReal") which, using mandatory simultaneous photos and now short videos from both the front and back cameras, provides a visual depiction of what they are doing at that moment, with an option to caption their post. The given window varies from day to day, and is not known to users before the notification is received. Once the daily notification is sent, users lose the ability to see others' BeReals from the previous day. Furthermore, users cannot see any of the current day's BeReals until they upload their own. On-time BeReals show the time it was uploaded, meanwhile, late BeReals uploaded after the two-minute window shows how late the BeReal was taken, but the user has to long-press the BeReal to reveal the time it was uploaded. Other users can also see how many attempts the poster took to take the BeReal, as well as their location when the BeReal was taken. Users only get one chance to delete their BeReal and post another one, and they used to not be able to post more than one at any time. However, in 2023, a feature was added that allowed users to post up to two extra BeReals on days when they posted their first BeReal within the 2-minute window. In July 2024, the number of bonus BeReals was increased to 5. [1] BeReal also features a "Discovery" section, wherein users are given the option to share to a much wider, public audience. This feature, however, is limited, as users are not able to interact with the posts through commenting—unlike the "My Friends" feature. In August 2023, in an attempt to make BeReal more social, another feature was added so that users are now able to see their friends of friends' BeReal. The app reportedly uses HiveAI to automate its image moderation process. However, there is also a report function that allows users to report a photo or another user if they are posting inappropriate content. === Comparison to other platforms === Because of its daily cycle of engagement, it has been compared to Wordle, which gained popularity earlier in 2022. It also supports a platform similar to Snapchat with a theme of impermanence and brevity. BeReal has been described as designed to compete with Instagram while simultaneously de-emphasising social media addiction and overuse. The app does not allow any photo filters or other editing, and has no follower counts. Marketing material from the company said that the app "can be addictive" and that "BeReal won't make you famous." Jacob Arnott, managing director of social agency We the People, describes BeReal as "an anti-Instagram" due to its raw and unedited nature. The app's foundation on friends rather than followers resembles Facebook's platform of adding friends, which comprise the content of a user's feed. This also resembles Instagram's "close friends" story feature. Further, rather than "liking" posts, BeReal uses "RealMojis" which involves taking a photo to interact with other posts. With the popularity of BeReal, other providers have launched similar features. In July 2022, Instagram launched a "Dual Camera" feature similar to BeReal, and in August 2022 it began testing a feature called "IG Candid Challenges", where users are prompted to post once a day within two minutes. As of September 2022, TikTok has also launched a feature called TikTok Now, following the same concept. In December 2022, similar to Spotify's "Wrapped," BeReal launched a feature involving a video of a compilation of users' BeReal posts of 2022. == User characteristics == BeReal is considered to be targeted towards Generation Z users, and attempts to minimise "social media fatigue", a feeling of numbness and disconnection from reality caused by constant interaction with an idealised version of others. This is a "core generational value" that this demographic holds compared to Millennials. Further, BeReal's users have been particularly strong across universities and university-aged students, and the majority of users are in the United States, the United Kingdom, and Germany. In 2022, the majority of users were female, with 43.2% of users falling within the age range of 16 to 25 and 55.1% of users being 26 to 44 years old. BeReal, the platform encourages users to share their real time moments by sending a daily notification that gives a least two minutes to post a unedited photo using bot the front and back camera, although users can post later and retake photos from when the notification happens, this action are still visible to friends, reinforcing transparency and genuine in the moment sharing. == Reception == Jason Koebler, a writer for Vice, wrote that in contrast to Instagram, which presents an unattainable view of people's lives, BeReal instead "makes everyone look extremely boring". Niklas Myhr, a professor of social media at Chapman University, argued that depth of engagement may determine whether the app is a passing trend or has "staying power". Kelsey Weekman, a reporter for BuzzFeed News, noted that the app's unwillingness to "glamorise the banality of life" made it feel "humbling" in its emphasis on authenticity. Niloufar Haidari for The Guardian comments similarly that where the app succeeds in being "drab" in perhaps a positive way, it fails in potentially "un-inspiring" users. Likewise, Dr. Brad Ridout, a behavioral psychologist at the University of Sydney, emphasizes that the "boring" experience is what the creators are targeting for the app and, in response to Instagram's platform of flawlessness, that "perfection is the enemy of happiness". === Criticisms === Some people regularly post after the two-minute notification expires, leading to some criticism of the app, as the ability to post late undermines its aims of authenticity. In addition, BeReal's daily two-minute window has been argued to contribute to social media fatigue and a need for self-exposure, as well as constant access to phones.

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  • Ganimal

    Ganimal

    A ganimal, also commonly referred to as GANimal, is a hybrid animal created with generative artificial intelligence systems, such as generative adversarial networks (GANs) or diffusion models. The concept was created for a website from the MIT Media Lab in 2020, where users could create ganimal images. 78,210 ganimals were generated from hybrid pairs of animal labels from BigGAN (G1) and 3,058,362,945 ganimals generated from blending G1 ganimals. The term ganimal is a portmanteau between the words GAN and animal. It is typically used to refer to a hybrid animal generated by interpolating between distinct species; the term can also refer to any AI-generated creatures that have not been identified in reality. The ganimal concept is similar to Artbreeder, an online website for blending images with AI. == Meet the Ganimals == Meet the Ganimals was an online platform from the MIT Media Lab that allowed visitors to generate, blend and curate ganimals. By June 2020, 44,791 ganimals had been generated, 8,547 ganimals bred, and 743 ganimals named by a total of 10,657 users. The site also had an educational component where visitors could play with blending and learn about AI. == Evolution and ganimal morphology == Because ganimals exist within an attention economy and evolve based on human preferences, charismatic megafauna (e.g. ganimals with cute, dog-like morphologies) become the most popular. However, social cues can increase the diversity of the ganimals ecosystem and lead to the success of unconventional ganimals, such as those without eyes or that live underwater. == The Barracuda Effect == Although there is typically no human morphology used to synthesize ganimals, creepy humanoid characters would emerge whenever animals were bred with a barracuda. This occurs because many pictures on the internet of barracudas include a human holding the fish up as a prized catch. This highlights a cultural form of algorithmic bias embedded in the training data of AI systems. == In popular culture == Ganimals have appeared in the Artificial Intelligence exhibition at the Vienna Technical Museum. They also appeared in the Ties That Cannot Be Unbound virtual exhibition at New Art City.

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  • Distributed artificial intelligence

    Distributed artificial intelligence

    Distributed Artificial Intelligence (DAI) (also called Decentralized Artificial Intelligence) is a melding of artificial intelligence with distributed computing. From artificial intelligence comes the theory and technology for constructing or analyzing an intelligent system. But where artificial intelligence uses psychology as a source of ideas, inspiration, and metaphor, DAI uses sociology, economics, and management science for inspiration. Where the focus of artificial intelligence is on the individual, the focus of DAI is on the group. Distributed computing provides the computational substrate on which this group focus can occur. Using techniques from artificial intelligence, communication theory, control theory, and interaction theory, it produces a cooperative solution to problems by a decentralized group of computational entities (agents). DAI is closely related to and a predecessor of the field of multi-agent systems. They are distinguished generally by multi-agent systems being open, where the entities might arise from different interests and have individual goals, and distributed artificial-intelligence systems, where the entities have common goals. There are numerous applications and tools. == Definition == Distributed Artificial Intelligence (DAI) is an approach to solving complex learning, planning, and decision-making problems. It is embarrassingly parallel, thus able to exploit large scale computation and spatial distribution of computing resources. These properties allow it to solve problems that require the processing of very large data sets. DAI systems consist of autonomous learning processing nodes (agents), that are distributed, often at a very large scale. DAI nodes can act independently, and partial solutions are integrated by communication between nodes, often asynchronously. By virtue of their scale, DAI systems are robust and elastic, and by necessity, loosely coupled. Furthermore, DAI systems are built to be adaptive to changes in the problem definition or underlying data sets due to the scale and difficulty in redeployment. DAI systems do not require all the relevant data to be aggregated in a single location, in contrast to monolithic or centralized Artificial Intelligence systems, which have tightly coupled and geographically close processing nodes. Therefore, DAI systems often operate on sub-samples or hashed impressions of very large datasets. In addition, the source dataset may change or be updated during the course of the execution of a DAI system. == Development == In 1975 distributed artificial intelligence emerged as a subfield of artificial intelligence that dealt with interactions of intelligent agents. As a scientific discipline, it progressed through a series of workshops in the USA (International Workshop on Distributed Artificial Intelligence, held in 13 editions from 1978 - 1994), Europe (Workshop on Modelling Autonomous Agents in a Multi-Agent World https://link.springer.com/conference/maamaw), and Asia (Multi-Agent and Cooperative Computation Workshop (MACC) https://sites.google.com/view/sig-macc/macc-workshop?authuser=0). Distributed artificial intelligence systems were conceived as a group of intelligent entities, called agents, that interacted by cooperation, by coexistence, or by competition. DAI is categorized into multi-agent systems and distributed problem solving. In multi-agent systems the main focus is how agents coordinate their knowledge and activities. For distributed problem solving the major focus is how the problem is decomposed and the solutions are synthesized. == Goals == The objectives of Distributed Artificial Intelligence are to solve the reasoning, planning, learning and perception problems of artificial intelligence, especially if they require large data, by distributing the problem to autonomous processing nodes (agents). To reach the objective, DAI requires: A distributed system with robust and elastic computation on unreliable and failing resources that are loosely coupled Coordination of the actions and communication of the nodes Subsamples of large data sets and online machine learning There are many reasons for wanting to distribute intelligence or cope with multi-agent systems. Mainstream problems in DAI research include the following: Parallel problem solving: mainly deals with how classic artificial intelligence concepts can be modified, so that multiprocessor systems and clusters of computers can be used to speed up calculation. Distributed problem solving (DPS): the concept of agent, autonomous entities that can communicate with each other, was developed to serve as an abstraction for developing DPS systems. See below for further details. Multi-Agent Based Simulation (MABS): a branch of DAI that builds the foundation for simulations that need to analyze not only phenomena at macro level but also at micro level, as it is in many social simulation scenarios. == Approaches == Two types of DAI has emerged: In Multi-agent systems agents coordinate their knowledge and activities and reason about the processes of coordination. Agents are physical or virtual entities that can act, perceive their environment, and communicate with other agents. An agent is autonomous and has skills to achieve goals. The agents change the state of their environment by their actions. There are a number of different coordination techniques. In distributed problem solving the work is divided among nodes and the knowledge is shared. The main concerns are task decomposition and synthesis of the knowledge and solutions. DAI can apply a bottom-up approach to AI, similar to the subsumption architecture as well as the traditional top-down approach of AI. In addition, DAI can also be a vehicle for emergence. === Challenges === The challenges in Distributed AI are: How to carry out communication and interaction of agents and which communication language or protocols should be used. How to ensure the coherency of agents. How to synthesise the results among 'intelligent agents' group by formulation, description, decomposition and allocation. == Applications and tools == Areas where DAI have been applied are: Electronic commerce, e.g. for trading strategies the DAI system learns financial trading rules from subsamples of very large samples of financial data Networks, e.g. in telecommunications the DAI system controls the cooperative resources in a WLAN network Routing, e.g. model vehicle flow in transport networks Scheduling, e.g. flow shop scheduling where the resource management entity ensures local optimization and cooperation for global and local consistency Search engines, e.g. in LLM federated search like Ithy where document retrieval and analysis are distributed to DAI agents before aggregation Multi-Agent systems, e.g. artificial life, the study of simulated life Electric power systems, e.g. Condition Monitoring Multi-Agent System (COMMAS) applied to transformer condition monitoring, and IntelliTEAM II Automatic Restoration System DAI integration in tools has included: ECStar is a distributed rule-based learning system. == Agents == === Systems: Agents and multi-agents === Notion of Agents: Agents can be described as distinct entities with standard boundaries and interfaces designed for problem solving. Notion of Multi-Agents: Multi-Agent system is defined as a network of agents which are loosely coupled working as a single entity like society for problem solving that an individual agent cannot solve. === Software agents === The key concept used in DPS and MABS is the abstraction called software agents. An agent is a virtual (or physical) autonomous entity that has an understanding of its environment and acts upon it. An agent is usually able to communicate with other agents in the same system to achieve a common goal, that one agent alone could not achieve. This communication system uses an agent communication language. A first classification that is useful is to divide agents into: reactive agent – A reactive agent is not much more than an automaton that receives input, processes it and produces an output. deliberative agent – A deliberative agent in contrast should have an internal view of its environment and is able to follow its own plans. hybrid agent – A hybrid agent is a mixture of reactive and deliberative, that follows its own plans, but also sometimes directly reacts to external events without deliberation. Well-recognized agent architectures that describe how an agent is internally structured are: ASMO (emergence of distributed modules) BDI (Believe Desire Intention, a general architecture that describes how plans are made) InterRAP (A three-layer architecture, with a reactive, a deliberative and a social layer) PECS (Physics, Emotion, Cognition, Social, describes how those four parts influences the agents behavior). Soar (a rule-based approach)

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