AI Generator Girl Image

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

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  Pocketbook (application)

  Pocketbook was a Sydney-based free budget planner and personal finance app launched in 2012. The app helped users setup and manage budgets, track spending and manage bills. As of 2016 Pocketbook claimed to support over 250,000 Australians, in January 2018 that number was 435,000. After being acquired by Zip Co Ltd in 2016, it was announced in 2022 that the app was to be shut down and all user accounts deleted. == History == Pocketbook was founded by Alvin Singh and Bosco Tan in 2012. It was conceived in 2011 in a Wolli Creek apartment as a tool for Alvin and Bosco to take control of their money. In 2013, Pocketbook raised $500,000 from technology fund Tank Stream Ventures, and a group of investors including TV personality David Koch, Geoff Levy, David Shein and Peter Cooper. In September 2016 Digital retail finance and payment industry player zipMoney (now trading as Zip Co Limited) acquired Pocketbook in a $7.5m deal == Features == The app synced with the bank account of users and would organize spending into different categories. Users could also be reminded of bill payments, analyse spending and set spending limits. They can also be alerted of fraudulent transactions and deductions. The app employs security measures like end to end encryption, CloudFlare protection, fraud detection, identity protection etc. Pocketbook was available via web and mobile version. == Awards == Personal Finance Innovator of the Year by Fintech Business Awards 2017 Innovator of the Year by OPTUS MyBusiness Awards 2017 Best Finance App of 2016 by Australian Fintech Best Personal Finance App: Pocketbook won the 2016 Finder Innovation Awards, presented at a gala dinner hosted by media personality and The New Inventors presenter James O'Loghlin. Best Mobile App of the Year Winner: StartCon hosted the first annual Australasian Startup Awards. Over 200 nominations in 14 categories and an overall winner were reviewed, and winners were determined by public voting, with over 63,000 votes in total. Best New Startup 2014 by StartupSmart. Finalist in the SWIFT Innotribe startup competition in Dubai in 2013.

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  Tip and cue

  Tip and cue, sometimes referred to as tip and que, tipping and cueing, or tipping and queing, is a method for satellite imagery and reconnaissance satellites to automatically coordinate tracking of objects across different satellites in real or near real-time. This technique ensures continuous tracking of targets as they move across different regions by handing them off between satellites, sharing satellite imagery and collateral across discrete satellites. The coordination between various satellites and their complementary sensors allows for more accurate and efficient data collection. This system is particularly useful in scenarios requiring real-time monitoring and rapid response; the method significantly improves situational awareness and operational effectiveness. Tip and cue techniques involve integrating various sensor systems, each playing a specific role in the tracking process. As a target moves, it is handed off from one satellite to another, ensuring continuous monitoring. This coordination optimizes data collection and analysis, enhancing overall tracking accuracy. The real-time information gathered by these satellites is critical for decision-making in various applications, including defense and surveillance. By leveraging multiple satellites and their sensors, it provides broader coverage and more reliable tracking, and the continuous handoff between satellites ensures there are no gaps in monitoring, essential for high-stakes applications. The real-time data provided by this system allows for timely and informed decisions, improving response times and outcomes. Tip and cue methodologies are a part of geospatial intelligence, or GEOINT. Robert Cardillo, a former director of the National Geospatial-Intelligence Agency, highlighted the importance of tip and cue methods to their data collection efforts in 2015. == Historical Development == The concept of tip and cue in satellite monitoring has its origins in early military applications designed to enhance missile detection and tracking systems. During the Cold War, advancements in infrared sensing technologies laid the groundwork for more sophisticated tip and cue techniques. The integration of different sensor types, such as radar and optical sensors, in the 1990s expanded the capabilities of tip and cue systems beyond military applications. These advancements have made tip and cue techniques essential for various civilian uses, including disaster monitoring and environmental surveillance. Significant progress was made with the advent of high-speed data processing and communication technologies in the early 2000s, further refining the method. Advanced algorithms and data fusion techniques have been introduced to better integrate information from multiple sensors. Machine learning technologies now play a crucial role in improving detection and prediction capabilities, allowing for more adaptive and efficient tracking. Richmond and Brennan of Lockheed Martin, presenting to the annual technical conference of the Maui Space Surveillance Complex (formerly the Air Force Maui Optical Station (AMOS)), discussed the algorithms needed for 'tip and cue', to facilitate "multi-phenomenology data fusion." The Space Surveillance Telescope (SST) at Naval Communication Station Harold E. Holt in Australia, operated by the United States Space Force and designed by the Massachusetts Institute of Technology Lincoln Laboratory, was reported by the Defense Advanced Research Projects Agency (DARPA) to be a leader in creating and improving tip and cue techniques, from a large library of orbital object data. == Technical overview == Tip and cue systems utilize a network of at least two satellites equipped with complementary sensor technologies to track moving objects in real-time. The method involves detecting a target with a primary sensor, such as an infrared or photographic sensor, which then cues secondary sensors on the same or other satellites for more detailed monitoring. This handoff process between discrete systems ensures continuous tracking as the target moves across different areas, leveraging each systems strengths. Data collected by these systems and sensors are rapidly processed and shared among the network, enhancing situational awareness. This coordination optimizes resource usage and improves the accuracy of tracking moving objects over large areas. The primary sensors detect initial targets based on specific signatures, such as heat or movement, and then cue secondary sensors to gather more precise data. This ensures that each sensor operates within its optimal range, maintaining high tracking accuracy and reliability. The integration of various sensor types, including optical, radar, and infrared, allows the system to function effectively under different conditions and environments. Real-time data processing and communication between satellites and ground stations are crucial for timely and accurate target tracking. Satellites using tip and cue processes may use either passive or active scanning methodoloigies. These systems may also leverage both orbital and ground-based ELINT (electronic signals intelligence). == Known use cases == Tip and cue systems have been extensively utilized in military applications, particularly for missile detection and defense. These systems enable early detection of missile launches using infrared sensors, which then cue other sensors to track the missile's trajectory more accurately. In environmental monitoring, tip and cue techniques help track natural disasters such as wildfires and hurricanes by coordinating various satellite sensors for comprehensive data collection and analysis. Surveillance and reconnaissance operations also benefit from tip and cue systems, which provide continuous and precise tracking of moving objects, enhancing situational awareness. Additionally, these systems are used in maritime surveillance to monitor ship movements and detect illegal activities such as smuggling and piracy. Tip and cue systems are used in disaster management. For instance, during wildfires, infrared sensors can detect heat signatures, prompting other sensors to gather detailed imagery and data on fire spread and intensity. This coordinated approach allows for real-time monitoring and rapid response, crucial for mitigating damage and saving lives. Similarly, in hurricane tracking, satellites equipped with various sensors can monitor storm development and progression, providing timely information for emergency management agencies. The integration of multiple sensor types ensures accurate and comprehensive coverage of these dynamic and fast-changing events. In maritime surveillance, or maritime domain awareness (MDA), tip and cue systems enhance the detection and monitoring of vessel movements, contributing to maritime security. By coordinating satellite sensors, these systems can track ships over vast ocean areas, identifying potential threats or illegal activities such as smuggling, piracy, and illegal fishing. The ability to maintain continuous surveillance and share data in real-time with maritime authorities improves response times and enforcement capabilities. This application of tip and cue systems not only aids in law enforcement but also supports environmental conservation efforts by monitoring protected marine areas. Automatic Identification System (AIS) is one of the most important sources of data for the MDA agencies. AIS is used in order for ships to know each other's whereabouts, they transmit a signal from ship to ship and to shore. Lately, the system has been developed into satellite system, so called satellite AIS, which makes the system more effective. All ocean-going vessels above 300 tons, are supposed to use and transmit via AIS according to the International Maritime Organization. The satellite constellations help facilitate this with tip and cue methodologies.

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  Fuzzy architectural spatial analysis

  Fuzzy architectural spatial analysis (FASA) (also fuzzy inference system (FIS) based architectural space analysis or fuzzy spatial analysis) is a spatial analysis method of analysing the spatial formation and architectural space intensity within any architectural organization. Fuzzy architectural spatial analysis is used in architecture, interior design, urban planning and similar spatial design fields. == Overview == Fuzzy architectural spatial analysis was developed by Burcin Cem Arabacioglu (2010) from the architectural theories of space syntax and visibility graph analysis, and is applied with the help of a fuzzy system with a Mamdani inference system based on fuzzy logic within any architectural space. Fuzzy architectural spatial analysis model analyses the space by considering the perceivable architectural element by their boundary and stress characteristics and intensity properties. The method is capable of taking all sensorial factors into account during analyses in conformably with the perception process of architectural space which is a multi-sensorial act.

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  Paranoia (role-playing game)

  Paranoia is a dystopian science-fiction tabletop role-playing game originally designed and written by Greg Costikyan, Dan Gelber, and Eric Goldberg, and first published in 1984 by West End Games. Since 2004 the game has been published under license by Mongoose Publishing. The game won the Origins Award for Best Roleplaying Rules of 1984 and was inducted into the Origins Awards Hall of Fame in 2007. Paranoia is notable among tabletop games for being more competitive than co-operative, with players encouraged to betray one another for their own interests, as well as for keeping a light-hearted, tongue in cheek tone despite its dystopian setting. Several editions of the game have been published since the original version, and the franchise has spawned several spin-offs, novels and comic books based on the game. == Premise == The game is set in a dystopian future city controlled by the Computer (also known as "Friend Computer"), and where information (including the game rules) are restricted by color-coded "security clearance". Player characters are initially enforcers of the Computer's authority known as Troubleshooters, and are given missions to seek out and eliminate threats to the Computer's control. They are also part of prohibited underground movements, and have secret objectives including theft from and murder of other player characters. == Tone == Paranoia is a humorous role-playing game set in a dystopian future along the lines of Nineteen Eighty-Four, Brave New World, Logan's Run, and THX 1138; however, the tone of the game is rife with black humor, frequently tongue-in-cheek rather than dark and heavy. Most of the game's humor is derived from the players' (usually futile) attempts to complete their assignment while simultaneously adhering to the Computer's arbitrary, contradictory and often nonsensical security directives. The Paranoia rulebook is unusual in a number of ways; demonstrating any knowledge of the rules is forbidden, and most of the rulebook is written in an easy, conversational tone that often makes fun of the players and their characters, while occasionally taking digs at other notable role-playing games. === Setting === The game's main setting is an immense, futuristic city called Alpha Complex. Alpha Complex is controlled by the Computer, a civil service AI construct (a literal realization of the "Influencing Machine" that some schizophrenics fear). The Computer serves as the game's principal antagonist, and fears a number of threats to its 'perfect' society, such as the Outdoors, mutants, and secret societies (especially Communists). To deal with these threats, the Computer employs Troubleshooters, whose job is to go out, find trouble, and shoot it. Player characters are usually Troubleshooters, although later game supplements have allowed the players to take on other roles, such as High-Programmers of Alpha Complex. The player characters frequently receive mission instructions from the Computer that are incomprehensible, self-contradictory, or obviously fatal if adhered to, and side-missions (such as Mandatory Bonus Duties) that conflict with the main mission. Failing a mission generally results in termination of the player character, but succeeding can just as often result in the same fate, after being rewarded for successfully concluding the mission. They are issued equipment that is uniformly dangerous, faulty, or "experimental" (i.e., almost certainly dangerous and faulty). Additionally, each player character is generally an unregistered mutant and a secret society member (which are both termination offenses in Alpha Complex), and has a hidden agenda separate from the group's goals, often involving stealing from or killing teammates. Thus, missions often turn into a comedy of errors, as everyone on the team seeks to double-cross everyone else while keeping their own secrets. The game's manual encourages suspicion between players, offering several tips on how to make the gameplay as paranoid as possible. Every player's character is assigned six clones, known as a six-pack, which are used to replace the preceding clone upon his or her death. The game lacks a conventional health system; most wounds the player characters can suffer are assumed to be fatal. As a result, Paranoia allows characters to be routinely killed, yet the player can continue instead of leaving the game. This easy spending of clones tends to lead to frequent firefights, gruesome slapstick, and the horrible yet humorous demise of most if not all of the player character's clone family. Additional clones can be purchased if one gains sufficient favour with the Computer. === Security clearances === Paranoia features a security clearance system based on colors of the visible spectrum which heavily restricts what the players can and cannot legally do; everything from corridors to food and equipment have security restrictions. The lowest rating is Infrared, but the lowest playable security clearance is Red; the game usually begins with the characters having just been promoted to Red grade. Interfering with anything which is above that player's clearance carries significant risk. The full order of clearances from lowest to highest is Infrared (visually represented by black), Red, Orange, Yellow, Green, Blue, Indigo, Violet, and Ultraviolet (visually represented by white). Within the game, Infrared-clearance citizens live dull lives of mindless drudgery and are heavily medicated, while higher clearance characters may be allowed to demote or even summarily execute those of a lower rank and those with Ultraviolet clearance are almost completely unrestricted and have a great deal of access to the Computer; they are the only citizens that may (legally) access and modify the Computer's programming, and thus Ultraviolet citizens are also referred to as "High Programmers". Security clearance is not related to competence but is instead the result of the Computer's often insane and unjustified calculus of trust concerning a citizen. It is suggested that it may in fact be the High Programmers' meddling with The Computer's programming that resulted in its insanity. === Secret societies === In the game, secret societies tend to be based on sketchy and spurious knowledge of historical matters. For example, previous editions included societies such as the "Seal Club" that idolizes the Outdoors but is unsure what plants and animals actually look like. Other societies include the Knights of the Circular Object (based on the Knights of the Round Table), the Trekkies, and the First Church of Christ Computer Programmer. In keeping with the theme of paranoia, many secret societies have spies or double agents in each other's organizations. The first edition also included secret societies such as Programs Groups (the personal agents and spies of the High Programmers at the apex of Alpha Complex society) and Spy For Another Alpha Complex. The actual societies which would be encountered in a game depends on the play style; some societies are more suited for more light-hearted games (Zap-style, or the lighter end of Classic), whereas others represent a more serious threat to Alpha Complex and are therefore more suitable for Straight or the more dark sort of Classic games. == Publication history == Six editions have been published. Three of these were published by West End Games — the first, second, and fifth editions — whereas the later three editions (Paranoia XP, the 25th Anniversary edition and the "Red Clearance" edition) were published by Mongoose Publishing. In addition to these six published editions, it is known that West End Games were working on a third edition — to replace the poorly received fifth edition — in the late 1990s, but their financial issues would prevent this edition from being published, except for being included in one tournament adventure. === First edition === The first edition, was written by Greg Costikyan, Dan Gelber, and Eric Goldberg, and published in 1984 by West End Games. In 1985, this edition of Paranoia won the Origins Award for Best Roleplaying Rules of 1984. This edition, while encouraging dark humour in-game, took a fairly serious dystopian tone; the supplements and adventures released to accompany it emphasised the lighter side, however, establishing the freewheeling mix of slapstick, intra-team backstabbing and satire that is classically associated with a game of Paranoia. === Second edition === The second edition, is credited to Costikyan, Gelber, Goldberg, Ken Rolston, and Paul Murphy, was published in 1987 by West End Games. This edition can be seen as a response to the natural development of the line towards a rules-light, fast and entertaining play style. Here, the humorous possibilities of life in a paranoid dystopia are emphasised, and the rules are simplified. ==== Metaplot and the second edition ==== Many of the supplements released for the second edition fall into a story arc set up by new writers and line editors

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  AI agent

  In the context of generative artificial intelligence, AI agents (also referred to as compound AI systems or agentic AI) are a class of intelligent agents that can pursue goals, use tools, and take actions with varying degrees of autonomy. In practice, they usually operate within human-defined objectives, constraints, and available tools. == Overview == AI agents possess several key attributes, including goal-directed behavior, natural language interfaces, the capacity to use external tools, and the ability to perform multi-step tasks. Their control flow is frequently driven by large language models (LLMs). Agent systems may also include memory components, planning logic, tool interfaces, and orchestration software for coordinating agent components. AI agents do not have a standard definition. NIST describes agentic AI as an emerging area requiring standards for secure operation, interoperability, and reliable interaction with external systems. A common application of AI agents is task automation: for example, booking travel plans based on a user's prompted request. Companies such as Google, Microsoft and Amazon Web Services have offered platforms for deploying pre-built AI agents. Several protocols have been proposed for standardizing inter-agent communication, with examples including the Model Context Protocol, Gibberlink, and many others. Some of these protocols are also used for connecting agents to external applications. In December 2025, Linux Foundation announced the formation of the Agentic AI Foundation (AAIF), with the goal of ensuring agentic AI evolves transparently and collaboratively. == History == AI agents have been traced back to research from the 1990s, with Harvard professor Milind Tambe noting that the definition of an AI agent was not clear at the time. Researcher Andrew Ng has been credited with spreading the term "agentic" to a wider audience in 2024. == Training and testing == Researchers have attempted to build world models and reinforcement learning environments to train or evaluate AI agents. For example, video games such as Minecraft and No Man's Sky as well as replicas of company websites, have also been used for training such agents. == Autonomous capabilities == The Financial Times compared the autonomy of AI agents to the SAE classification of self-driving cars, likening most applications to level 2 or level 3, with some achieving level 4 in highly specialized circumstances, and level 5 being theoretical. == Cognitive architecture == The following are some internal design options for reasoning within an agent: Retrieval-augmented generation ReAct (Reason + Act) pattern is an iterative process in which an AI agent alternates between reasoning and taking actions, receives observations from the environment or external tools, and integrates these observations into subsequent reasoning steps. Reflexion, which uses an LLM to create feedback on the agent's plan of action and stores that feedback in a memory cache. A tool/agent registry, for organizing software functions or other agents that the agent can use. One-shot model querying, which queries the model once to create the plan of action. === Reference architecture === Ken Huang proposed an AI agent reference architecture, which consists of seven interconnected layers, with each layer building on the functionality of the layers beneath it: Layer 1: Foundation models - provide the core AI engines to power agent capabilities. Layer 2: Data operations - manage the complex data infrastructure required for AI agent operations, including Vector database, data loaders, RAG. Layer 3: Agent frameworks - sophisticated software and tools that simplify the development and management of the AI agents. Layer 4: Deployment and infrastructure - provide the robust technical foundation for running AI agents. Layer 5: Evaluation and observability - focus on assessing the safety and performance of AI agents. Layer 6: Security and compliance - a crucial protective framework ensuring AI agents operate safely, securely, and conform to regulatory boundaries. At this layer security and compliance features embedded into all the AI agent stack layers are integrated together. Layer 7: Agent ecosystem - represents the AI agents' interface with real-world applications and users. == Orchestration patterns == To execute complex tasks, autonomous agents are often integrated with other agents or specialized tools. These configurations, known as orchestration patterns or workflows, include the following: Prompt chaining: A sequence where the output of one step serves as the input for the next. Routing: The classification of an input to direct it to a specialized downstream task or tool. Parallelization: The simultaneous execution of multiple tasks. Sequential processing: A fixed, linear progression of tasks through a predefined pipeline. Planner-critic: An iterative pattern where one agent generates a proposal and another evaluates it to provide feedback for refinement. == Multimodal AI agents == In addition to large language models (LLMs), vision-language models (VLMs) and multimodal foundation models can be used as the basis for agents. In September 2024, Allen Institute for AI released an open-source vision-language model. Nvidia released a framework for developers to use VLMs, LLMs and retrieval-augmented generation for building AI agents that can analyze images and videos, including video search and video summarization. Microsoft released a multimodal agent model – trained on images, video, software user interface interactions, and robotics data – that the company claimed can manipulate software and robots. == Applications == As of April 2025, per the Associated Press, there are few real-world applications of AI agents. As of June 2025, per Fortune, many companies are primarily experimenting with AI agents. The Information divided AI agents into seven archetypes: business-task agents, for acting within enterprise software; conversational agents, which act as chatbots for customer support; research agents, for querying and analyzing information (such as OpenAI Deep Research); analytics agents, for analyzing data to create reports; software developer or coding agents (such as Cursor); domain-specific agents, which include specific subject matter knowledge; and web browser agents (such as OpenAI Operator). By mid-2025, AI agents have been used in video game development, gambling (including sports betting), cryptocurrency wallets (including cryptocurrency trading and meme coins) and social media. In August 2025, New York Magazine described software development as the most definitive use case of AI agents. Likewise, by October 2025, noting a decline in expectations, The Information noted AI coding agents and customer support as the primary use cases by businesses. In November 2025, The Wall Street Journal reported that few companies that deployed AI agents have received a return on investment. === Applications in government === Several government bodies in the United States and United Kingdom have deployed or announced the deployment of agents, at the local and national level. The city of Kyle, Texas deployed an AI agent from Salesforce in March 2025 for 311 customer service. In November 2025, the Internal Revenue Service stated that it would use Agentforce, AI agents from Salesforce, for the Office of Chief Counsel, Taxpayer Advocate Services and the Office of Appeals. That same month, Staffordshire Police announced that they would trial Agentforce agents for handling non-emergency 101 calls in the United Kingdom starting in 2026. In December 2025, the Department of Neighborhoods in Detroit, Michigan, in partnership with a local business, deployed a pilot project in two Detroit districts for an AI agent to be used for customer service calls. In February 2025, Thomas Shedd, the director of the Technology Transformation Services, proposed using AI coding agents across the United States federal government. A recruiter for the Department of Government Efficiency proposed in April 2025 to use AI agents to automate the work of about 70,000 United States federal government employees, as part of a startup with funding from OpenAI and a partnership agreement with Palantir. This proposal was criticized by experts for its impracticality, if not impossibility, and the lack of corresponding widespread adoption by businesses. In December 2025, the Food and Drug Administration announced that it would offer "agentic AI capabilities" to its staff for "meeting management, pre-market reviews, review validation, post-market surveillance, inspections and compliance and administrative functions." That same month, the United States Department of Defense launched GenAI.mil, an internal platform for American military personnel to use generative AI-based applications based on Google Gemini, including "intelligent agentic workflows". Defense Secretary Pete Hegseth listed applications such as "[conducting] deep r

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  Content-based image retrieval

  Content-based image retrieval, also known as query by image content (QBIC) and content-based visual information retrieval (CBVIR), is the application of computer vision techniques to the image retrieval problem, that is, the problem of searching for digital images in large databases (see this survey for a scientific overview of the CBIR field). Content-based image retrieval is opposed to traditional concept-based approaches (see Concept-based image indexing). "Content-based" means that the search analyzes the contents of the image rather than the metadata such as keywords, tags, or descriptions associated with the image. The term "content" in this context might refer to colors, shapes, textures, or any other information that can be derived from the image itself. CBIR is desirable because searches that rely purely on metadata are dependent on annotation quality and completeness. == Comparison with metadata searching == An image meta search requires humans to have manually annotated images by entering keywords or metadata in a large database, which can be time-consuming and may not capture the keywords desired to describe the image. The evaluation of the effectiveness of keyword image search is subjective and has not been well-defined. In the same regard, CBIR systems have similar challenges in defining success. "Keywords also limit the scope of queries to the set of predetermined criteria." and, "having been set up" are less reliable than using the content itself. == History == The term "content-based image retrieval" seems to have originated in 1992 when it was used by Japanese Electrotechnical Laboratory engineer Toshikazu Kato to describe experiments into automatic retrieval of images from a database, based on the colors and shapes present. Since then, the term has been used to describe the process of retrieving desired images from a large collection on the basis of syntactical image features. The techniques, tools, and algorithms that are used originate from fields such as statistics, pattern recognition, signal processing, and computer vision. === QBIC - Query By Image Content === The earliest commercial CBIR system was developed by IBM and was called QBIC (Query By Image Content). Recent network- and graph-based approaches have presented a simple and attractive alternative to existing methods. While the storing of multiple images as part of a single entity preceded the term BLOB (Binary Large OBject), the ability to fully search by content, rather than by description, had to await IBM's QBIC. === VisualRank === == Technical progress == The interest in CBIR has grown because of the limitations inherent in metadata-based systems, as well as the large range of possible uses for efficient image retrieval. Textual information about images can be easily searched using existing technology, but this requires humans to manually describe each image in the database. This can be impractical for very large databases or for images that are generated automatically, e.g. those from surveillance cameras. It is also possible to miss images that use different synonyms in their descriptions. Systems based on categorizing images in semantic classes like "cat" as a subclass of "animal" can avoid the miscategorization problem, but will require more effort by a user to find images that might be "cats", but are only classified as an "animal". Many standards have been developed to categorize images, but all still face scaling and miscategorization issues. Initial CBIR systems were developed to search databases based on image color, texture, and shape properties. After these systems were developed, the need for user-friendly interfaces became apparent. Therefore, efforts in the CBIR field started to include human-centered design that tried to meet the needs of the user performing the search. This typically means inclusion of: query methods that may allow descriptive semantics, queries that may involve user feedback, systems that may include machine learning, and systems that may understand user satisfaction levels. == Techniques == Many CBIR systems have been developed, but as of 2006, the problem of retrieving images on the basis of their pixel content remains largely unsolved. Different query techniques and implementations of CBIR make use of different types of user queries. === Query By Example === QBE (Query By Example) is a query technique that involves providing the CBIR system with an example image that it will then base its search upon. The underlying search algorithms may vary depending on the application, but result images should all share common elements with the provided example. Options for providing example images to the system include: A preexisting image may be supplied by the user or chosen from a random set. The user draws a rough approximation of the image they are looking for, for example with blobs of color or general shapes. This query technique removes the difficulties that can arise when trying to describe images with words. === Semantic retrieval === Semantic retrieval starts with a user making a request like "find pictures of Abraham Lincoln". This type of open-ended task is very difficult for computers to perform - Lincoln may not always be facing the camera or in the same pose. Many CBIR systems therefore generally make use of lower-level features like texture, color, and shape. These features are either used in combination with interfaces that allow easier input of the criteria or with databases that have already been trained to match features (such as faces, fingerprints, or shape matching). However, in general, image retrieval requires human feedback in order to identify higher-level concepts. === Relevance feedback (human interaction) === Combining CBIR search techniques available with the wide range of potential users and their intent can be a difficult task. An aspect of making CBIR successful relies entirely on the ability to understand the user intent. CBIR systems can make use of relevance feedback, where the user progressively refines the search results by marking images in the results as "relevant", "not relevant", or "neutral" to the search query, then repeating the search with the new information. Examples of this type of interface have been developed. === Iterative/machine learning === Machine learning and application of iterative techniques are becoming more common in CBIR. === Other query methods === Other query methods include browsing for example images, navigating customized/hierarchical categories, querying by image region (rather than the entire image), querying by multiple example images, querying by visual sketch, querying by direct specification of image features, and multimodal queries (e.g. combining touch, voice, etc.) == Content comparison using image distance measures == The most common method for comparing two images in content-based image retrieval (typically an example image and an image from the database) is using an image distance measure. An image distance measure compares the similarity of two images in various dimensions such as color, texture, shape, and others. For example, a distance of 0 signifies an exact match with the query, with respect to the dimensions that were considered. As one may intuitively gather, a value greater than 0 indicates various degrees of similarities between the images. Search results then can be sorted based on their distance to the queried image. Many measures of image distance (Similarity Models) have been developed. === Color === Computing distance measures based on color similarity is achieved by computing a color histogram for each image that identifies the proportion of pixels within an image holding specific values. Examining images based on the colors they contain is one of the most widely used techniques because it can be completed without regard to image size or orientation. However, research has also attempted to segment color proportion by region and by spatial relationship among several color regions. === Texture === Texture measures look for visual patterns in images and how they are spatially defined. Textures are represented by texels which are then placed into a number of sets, depending on how many textures are detected in the image. These sets not only define the texture, but also where in the image the texture is located. Texture is a difficult concept to represent. The identification of specific textures in an image is achieved primarily by modeling texture as a two-dimensional gray level variation. The relative brightness of pairs of pixels is computed such that degree of contrast, regularity, coarseness and directionality may be estimated. The problem is in identifying patterns of co-pixel variation and associating them with particular classes of textures such as silky, or rough. Other methods of classifying textures include: Co-occurrence matrix Laws texture energy Wavelet transform Orthogonal transforms (discrete Chebyshev moments) =

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  Dry Drowning

  Dry Drowning is a cyberpunk mystery visual novel developed by Studio V and published by VLG Publishing and WhisperGames for Microsoft Windows on August 2, 2019. It was released on the Nintendo Switch on February 22, 2021. == Gameplay == The player takes control of Mordred Foley and has to read through the story, while making decisions at certain points. Depending on the choices, the player can influence the relationship to other characters as well as the course of the game, discovering more than 150 story branches, and eventually reach one out of three different endings with variations. The game also includes passages where the player has to find clues or items on the screen by clicking on them. These can be used in interrogation scenes with certain characters in order to unmask them and discover their lies. Throughout the game, the player has access to an in-game operating system called AquaOS. With that, they can re-read their conversations, look at their found items, and read biographies of the characters encountered. == Plot == The game is set in the fictional and totalitarian city Nova Polemos in Europa in 2066. Mordred Foley and Hera Kairis are private investigators and before the events of the game, they sent two of the most dangerous serial killers ever, Jennifer Kingston and Robert Herrington, to the electric chair. However, after their execution, their agency underwent an investigation for falsifying the evidence presented during the case, which completely destroyed its reputation. Now they want to restart their careers and lives, while dealing with their past traumas. Soon, Mordred is caught up in several cases that all led him to believe that the dreaded serial killer named Pandora has returned. In order to solve these cases, both Mordred and Hera have to face their pasts and fears, all while a racist political party is about to make the lives of refugees in Nova Polemos even worse. == Development == The game was initially conceived by Giacomo Masi and Samuele Zolfanelli, then developed by Studio V and directed and written by Giacomo Masi. It was originally written in Italian and translated into English, Chinese, Japanese, Korean, and German. The soundtrack was composed, written, and performed by Giorgio Maioli. The ending theme and Hera's pieces, performed on piano, were created by Alessandro Masi. The background and character artworks were made by Giulia Carli, other graphic elements such as the UI were created by Samuele Zolfanelli. The developers cited L.A. Noire, Ace Attorney, Blade Runner and Heavy Rain as some of their inspirations for the game. === Releases === Dry Drowning was originally released on Microsoft Windows through Steam, GOG, Itch.io, and Utomik in August 2019. In July 2019, Giacomo Masi announced the game would be released for Xbox One in 2020, though it was not released that year. A Nintendo Switch port was released on February 22, 2021, and a version for PlayStation 4 is set to release in 2021. == Reception == According to review aggregator platform Metacritic, Dry Drowning received "mixed or average reviews" for PC based on 11 reviews and "generally favorable reviews" for Nintendo Switch based on 6 reviews. Fellow review aggregator OpenCritic assessed that the game received fair approval, being recommended by 55% of critics. 4players.de gave a positive rating of 80% and wrote: "Stylish noir thriller with an interesting story, but mechanical limitations – despite a variety of possible interactions." Screen Rant gave a mixed rating of 3 out of 5 stars and wrote, "Dry Drowning may be a fair bit messy, but there's charm here. Players who are willing to embrace the cheesier elements will find some joy in its well-crafted setting and a decent murder mystery plot. The game is constrictive and lacks the genuine shock and engagement of top tier visual novels like Doki Doki Literature Club!, but there are some moments of clever world building and a strong enough mystery propelling it." The Italian review site SpazioGames gave a positive rating of 8.5 out of 10 points and wrote: "Dry Drowning is a very good game with great narrative experience. Every relationship between the characters is layered to increase player involvement, and each choice has different consequences. A thriller game that deserves to be played." === Awards === The game won Best of EGS 2019 and Best of JOIN 2019 awards, an honorable mention at GAMEROME and was nominated as "Best Italian Debut Game" at the Italian Video Game Awards 2020. It was also declared Best Game at Join The Indie 2019.

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  Libby Heaney

  Libby Heaney is a British artist and quantum physicist known for her pioneering work on AI and quantum computing. She works on the impact of future technologies and is widely known to be the first artist to use quantum computing as a functioning artistic medium. Her work has been featured internationally, including in the Victoria and Albert Museum, Tate Modern and the Science Gallery. == Early life and scientific career == Heaney is from Tamworth, Staffordshire. She lived in Amington, and went to Greenacres Primary School and Woodhouse High School, now called Landau Forte Academy Amington. She took her GCSEs in 1999. She studied physics at Imperial College London, graduating in 2005 with first class honours. Libby pursued a successful career in quantum physics, completing a PhD thesis on mode entanglement in ultra-cold atomic gases at the University of Leeds, and pursued her own research as a postdoctoral fellow at the University of Oxford and at the National University of Singapore. In 2008, Heaney was awarded the Institute of Physics Very Early Career Woman in Physics Award (now Jocelyn Bell Burnell Medal and Prize). == Artistic career == In 2013 Heaney returned to the UK and completed a master's degree at the University of the Arts London. She studied arts and science at Central Saint Martins and graduated in 2015. She then became a lecturer at the Royal College of Art, teaching Information Experience Design. In 2016, she created Lady Chatterley's Tinderbot which presented Tinder conversations between real users and AI bots programmed using Lady Chatterley's Lover. Lady Chatterley's Tinderbot was covered by BBC News, TheJournal.ie and the Irish Examiner and was exhibited internationally. In 2017, Heaney was commissioned by Sky Arts and the Barbican Centre to design Britbot, an internet bot built using artificial intelligence and the citizenship book Life in the UK: a guide for new residents. The book, a manual for the citizenship test, has been described by Heaney as being "largely a white male privileged version of British history and culture". The bot spoke to the public about what it meant to be British and learnt from their responses to become an ever changing, plural version of Britishness. She was awarded an Arts Council England grant to widen participation of the Britbot to social media. Heaney has exhibited Britbot at the Victoria and Albert Museum, at CogX, the Sheffield Documentary Festival the Edinburgh TV festival, and Art Ai in Leicester. She has been creating with quantum computing since 2019, and has created artworks using quantum computing for Light Art Space (LAS) in Berlin, Somerset House and arebyte in London. Using quantum code, storytelling, and immersive installations and performances, Libby Heaney's works such as Ent- and slimeqore explore and warn against the double-edged potential of quantum computing and its exploitation by private companies. In 2022, Ent- received the Lumen Prize immersive environment award. == Major works == === Ent- and The Evolution of Ent-: QX (2022) === In 2022, Libby Heaney was commissioned by Light Art Space to create Ent-, a 360 immersive installation that revisits Bosch's Garden of Earthly Delights through quantum. The work uses quantum computing as both a medium and a paradigm through which to conceive human and non-human relations. Ent- was exhibited at LAS, Ars Electronica, and arebyte gallery in London. The work was also modified to fit a full dome projection at the Deutsches Museum in Munich, projected onto a public facade in Seoul, and turned into a playable version for an exhibition at Nahmad Contemporary in New York. In 2022, Ent- was a winner in the Art Science Category of the Falling Walls prize and received the Lumen Prize immersive environment award. The Evolution of Ent-:QX, first displayed at arebyte gallery in London, builds on Ent- and imagines a fictional quantum computing company (QX) that appropriates, parodies and subverts the language of big tech in order to educate the viewer on current profit-oriented uses of quantum computing as well as propose new ways to think about and use the technology. In 2023, Ent- was acquired and displayed by the 0xCollection, a new media arts institution based in Basel, in their inaugural exhibition in Prague. === Touch is response-ability (2020) === Touch is response-ability is an instagram performance and touch screen installation where participants activate animations by flicking through instagram stories. The performance investigates representations of the female body in art history and through computer vision to see how stereotypes are socially constructed and maintained. Images of the body are passed through a quantum algorithm, and as the users interact with them they progressively become fragmented and dissolve beyond recognition. The work was originally commissioned by Hervisions at LUX in 2020 and performed on the LUX instagram account. It was also exhibited at Etopia Zaragoza in 2021 and at Art SG with Gazelli Art House in 2023. === Lady Chatterley's Tinderbot (2016) === In Lady Chatterley's Tinderbot, Libby Heaney programmed a bot to engage in conversations on Tinder by using lines from the 1928 novel Lady Chatterley's Lover, by D.H. Lawrence. The work was first shown as an interactive installation in 2016 at the Dublin Science Gallery, allowing visitors to swipe left or right to navigate through various conversations. Lady Chatterley's Tinderbot was also exhibited at Sonar+D in Barcelona (2017), the Telefonica Fundacion in Lima (2017), the Lowry in Salford (2018), RMIT gallery in Melbourne (2021), Microwave Festival in Hong Kong (2022) and was shortlisted for the HEK-Basel Net-based art award in 2018. == Selected exhibitions == 2023 - Synesthetic Immersion, 0xCollection, Prague 2023 - slimeQrawl, Shoreditch Arts Club, London 2023 - ...and that's only (half) the story, PLUS ONE Gallery, Antwerp 2023–Present Futures Festival, Centre of Contemporary Art, Glasgow 2023 - Realtime: Lilypads: Mediating Exponential Systems, NXT Museum, Amsterdam 2023 - My Rhino is not a Myth, Art Encounters Biennial, Timisoara 2023 - Ent-er the Garden of Forking Paths, Gazelli Art House, London 2023 - Energeia, Etopia, Zaragoza 2022 - Every Kind of Wind: Calder and the 21st Century, Nahmad Contemporary, New York 2022 - remiQXing still, Fiumano Clase, London 2022 - the Evolution of Ent-: QX, arebyte, London 2022 - Ent-, Light Art Space x Schering Stiftung, Berlin 2022 - Among the Machines, Zabludowicz Collection, London 2022 - BioMedia, ZKM, Karlsruhe 2021 - CASCADE, Southbank Centre, London 2021 - Agency is the Ability to Act, Holden Gallery, Manchester 2021 - BIAS, Science Gallery, Dublin 2021 - Ars Electronica, Linz 2021 - AI & Music, S+T+ARTS & Sonar Festival, CCCB, Barcelona 2020 - Real Time Constraints, arebyte, London 2019 - Euro(re)visions, Goethe Institut, London 2019 - Higher Resolutions with Hyphen Labs, Tate Modern, London 2019 - Open Fest with Sky Arts, Barbican, London 2018 - Digital Design Weekend, V&A, London 2018 - FAKE, Science Gallery, Dublin 2017 - Ars Electronica, Linz 2017 - Entangled: Quantum Computer Art, Royal College of Art, London 2017 - Humans Need Not Apply, Science Gallery, Dublin == Awards and honours == Her awards include: 2022 - Lumen Prize, BCS Immersive Environment Award (for Ent-) 2022 - Mozilla Foundation Creative Media Award, USA 2022 - nominated for the S+T+ARTS prize 2021 - Adaptation Award, Artquest, London 2021 - British Council Amplify Collaboration Award 2018 - Arts Council England, National Lottery Project Grant 2018 - HeK Basel Net Based Art Award (shortlisted for Tinderbot)

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  Lucy–Hook coaddition method

  The Lucy–Hook coaddition method is an image processing technique for combining sub-stepped astronomical image data onto a finer grid. The method allows the option of resolution and contrast enhancement or the choice of a conservative, re-convolved, output. Tests with very deep Hubble Space Telescope Wide Field and Planetary Camera 2 (WFPC2) imaging data of excellent quality show that these methods can be very effective and allow fine-scale features to be studied better than on the unprocessed images. The Lucy–Hook coaddition method is an extension of the standard Richardson–Lucy deconvolution iterative restoration method. For many purposes it may be more convenient to combine dithered datasets using the Drizzle method.

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  We Appreciate Power

  "We Appreciate Power" is a song by Canadian musician Grimes, featuring American musician Hana. It was released on November 29, 2018, billed as the lead single from her fifth studio album Miss Anthropocene, however it is only available on the Japanese and deluxe releases. The song was written and produced by Grimes, Poppy (originally), Hana and Chris Greatti. == Background and release == The song was supposed to be one of two collaborations between Grimes and American singer Poppy, for the latter's second studio album Am I a Girl?. In an interview, Poppy mentioned that she wrote two songs with Grimes; one about "destroying things" and another about "power". The other song, "Play Destroy", was featured on the album. Grimes shared a lyric of the song with a photo of her with Poppy on Twitter in May 2018. Following feuds between the two singers, the song was released by Grimes featuring singer Hana instead. On November 26, Grimes announced she would be releasing new music on November 29. Two days later, she revealed that the single is titled "We Appreciate Power" and features Hana, and shared the artwork. The release of the song was accompanied by a lyric video directed by Grimes and her brother Mac Boucher. == Music and lyrics == "We Appreciate Power" is an industrial rock, nu metal, and techno-industrial song. The track is regarded as a further step into Grimes's experimentation with guitars that started on 2015's Art Angels. The track was compared to the works of Nine Inch Nails; Jillian Mapes of Pitchfork described the song as "an immediate onslaught of mutilated noise—distorted metal guitar chug, bloody screams, a guitar loop that conjures fear and demands worship. Flashes of Nine Inch Nails' Pretty Hate Machine reverberate through the drum programming and synths." Brendan Klinkenberg of Rolling Stone placed the song "somewhere between power pop and straightforward industrial (with an extended bridge reminiscent of the most sweeping moments in a Final Fantasy score)" and "a distinctly 2018 take on Nine Inch Nails-esque hard-edged rock." A press release stated that the song was inspired by the North Korean band Moranbong and was written "from the perspective of a Pro-A.I. Girl Group Propaganda machine who use song, dance, sex and fashion to spread goodwill towards Artificial Intelligence." In addition Grimes stated that by simply listening to the song you will be reducing your risk of ending up on any future AI overlord's hit list when it reigns supreme, mirroring the Roko's basilisk theory. Lyrically, the song touches on transhumanist ideas such as the betterment and future of the human race, the possibilities of merging consciousness with machines to extend life indefinitely through mind uploading, and the idea that reality may be simulated. The song's chorus generated a spike in interest in the word "capitulate". == Critical reception == Pitchfork critic Jillian Mapes wrote: "If "Freak on a Leash" isn't a dealbreaker, then the supervillain allure of "We Appreciate Power" might pull you in (it legitimately slaps), but it just as well may leave you weighed down by Grimes' commitment to the absolute darkest timeline." Billboard's Gil Kaufman described the song as "a dystopian, aggressive dive into a more rock-leaning sound." Similarly, Brendan Klinkenberg of Rolling Stone called it "the most aggressive single Grimes has released to date" Noisey called the song "an absolute motherfucker of a single" and opined it sounds "like a K-pop band covering nu-metal". Justin Kamp of Paste described the track as a "glitchy empowerment anthem that chugs along on screeching synths and Grimes' repeated exultations of power." == Personnel == Credits adapted from Tidal. Grimes – vocals, guitar, production, engineering Hana – vocals, guitar, additional production Chris Greatti – guitar, keyboards, production, engineering Zakk Cervini – mixing == Track listing == == Charts ==

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  European Society for Fuzzy Logic and Technology

  The European Society for Fuzzy Logic and Technology (EUSFLAT) is a scientific association with the aims to disseminate and promote fuzzy logic and related subjects (sometimes comprised under the collective terms soft computing or computational intelligence) and to provide a platform for exchange between scientists and engineers working in these fields. The society is both open for academic and industrial members. == History == EUSFLAT was founded in 1998 in Spain as the successor of the National Spanish Fuzzy Logic Society, ESTYLF, with the aim to open the society for members from other European countries. Since then, the society managed to attract a large share of members from outside Spain, and even beyond Europe, with the Spanish members still being the largest group inside EUSFLAT. For these historical reasons, the society is officially registered in Spain. == Conferences == Starting with 1999, EUSFLAT has been organizing its biannual conferences in odd years. Previous meetings: Palma de Mallorca, Balearic Islands, Spain, September 22–25, 1999 (jointly with National Spanish conference, ESTYLF) Leicester, United Kingdom, September 5–7, 2001 Zittau, Germany, September 10–12, 2003 Barcelona, Catalonia, Spain, September 7–9, 2005 (jointly with 11th Rencontres Francophones sur la Logique Floue et ses Applications) Ostrava, Czech Republic, September 11–14, 2007 Lisbon, Portugal, July 20–24, 2009 (jointly with 13th World Congress of the International Fuzzy Systems Association) Aix-les-Bains, France, July 18–22, 2011 (jointly with Les Rencontres Francophones sur la Logique Floue et ses Applications) Milan, Italy, September 11–13, 2013 Gijón, Spain, June, 30–3 July 2015 == Publications == EUSFLAT publishes the proceedings of its conferences in an open access manner. Until 2010, Mathware & Soft Computing was the official journal of EUSFLAT. On July 1, 2010, the International Journal of Computational Intelligence Systems (Atlantis Press, ISSN 1875-6891 (print) / ISSN 1875-6883 (on-line)) became the official journal of EUSFLAT. EUSFLAT publishes an electronic newsletter with three issues a year. == Presidents == EUSFLAT is led by the President, who is elected for a two-year period, and cannot serve for more than two consecutive periods. Francesc Esteva (1998–2011) Luis Magdalena (2001–2005) Ulrich Bodenhofer (2005–2009) Javier Montero (2009–2013) Gabriella Pasi (2013–present)

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  Someday (short story)

  "Someday" is a science fiction short story by American writer Isaac Asimov. It was first published in the August 1956 issue of Infinity Science Fiction and reprinted in the collections Earth Is Room Enough (1957), The Complete Robot (1982), Robot Visions (1990), and The Complete Stories, Volume 1 (1990). == Plot summary == The story is set in a future where computers play a central role in organizing society. Humans are employed as computer operators, but they leave most of the thinking to machines. Indeed, whilst binary programming is taught at school, reading and writing have become obsolete. The story concerns a pair of boys who dismantle and upgrade an old Bard, a child's computer whose sole function is to generate random fairy tales. The boys download a book about computers into the Bard's memory in an attempt to expand its vocabulary, but the Bard simply incorporates computers into its standard fairy tale repertoire. The story ends with the boys excitedly leaving the room after deciding to go to the library to learn "squiggles" (writing) as a means of passing secret messages to one another. As they leave, one of the boys accidentally kicks the Bard's on switch. The Bard begins reciting a new story about a poor mistreated and often ignored robot called the Bard, whose sole purpose is to tell stories, which ends with the words: "the little computer knew then that computers would always grow wiser and more powerful until someday—someday—someday—…"

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  Hybrid intelligent system

  Hybrid intelligent system denotes a software system which employs, in parallel, a combination of methods and techniques from artificial intelligence subfields, such as: Neuro-symbolic systems Neuro-fuzzy systems Hybrid connectionist-symbolic models Fuzzy expert systems Connectionist expert systems Evolutionary neural networks Genetic fuzzy systems Rough fuzzy hybridization Reinforcement learning with fuzzy, neural, or evolutionary methods as well as symbolic reasoning methods. From the cognitive science perspective, every natural intelligent system is hybrid because it performs mental operations on both the symbolic and subsymbolic levels. For the past few years, there has been an increasing discussion of the importance of A.I. Systems Integration. Based on notions that there have already been created simple and specific AI systems (such as systems for computer vision, speech synthesis, etc., or software that employs some of the models mentioned above) and now is the time for integration to create broad AI systems. Proponents of this approach are researchers such as Marvin Minsky, Ron Sun, Aaron Sloman, Angelo Dalli and Michael A. Arbib. An example hybrid is a hierarchical control system in which the lowest, reactive layers are sub-symbolic. The higher layers, having relaxed time constraints, are capable of reasoning from an abstract world model and performing planning (even by hybrid wisdom). Intelligent systems usually rely on hybrid reasoning processes, which include induction, deduction, abduction and reasoning by analogy.

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  DEAP (software)

  Distributed Evolutionary Algorithms in Python (DEAP) is an evolutionary computation framework for rapid prototyping and testing of ideas. It incorporates the data structures and tools required to implement most common evolutionary computation techniques such as genetic algorithm, genetic programming, evolution strategies, particle swarm optimization, differential evolution, traffic flow and estimation of distribution algorithm. It is developed at Université Laval since 2009. == Example == The following code gives a quick overview how the Onemax problem optimization with genetic algorithm can be implemented with DEAP.

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  Torment: Tides of Numenera

  Torment: Tides of Numenera is a 2017 role-playing video game developed by inXile Entertainment and published by Techland Publishing for Microsoft Windows, macOS, Linux, PlayStation 4 and Xbox One. It is a spiritual successor to 1999's Planescape: Torment. The game takes place in The Ninth World, a science fantasy campaign setting written by Monte Cook for his tabletop RPG Numenera. Torment: Tides of Numenera, like its predecessor, is primarily story-driven while placing greater emphasis on interaction with the world and characters, with combat and item accumulation taking a secondary role. The game was crowd-funded through Kickstarter in March 2013. At the campaign's conclusion, Torment: Tides of Numenera had set the record for highest-funded video game on Kickstarter with over US$4 million pledged. The release date was initially set for December 2014, but was pushed back to February 2017. == Gameplay == Torment: Tides of Numenera uses the Unity engine to display the pre-rendered 2.5D isometric perspective environments. The tabletop ruleset of Monte Cook's Numenera has been adapted to serve as the game's rule mechanic, and its Ninth World setting is where the events of Torment: Tides of Numenera take place. The player experiences the game from the point of view of the Last Castoff, a human host that was once inhabited by a powerful being, but was suddenly abandoned without memory of prior events. As with its spiritual predecessor, Planescape: Torment, the gameplay of Torment: Tides of Numenera places a large emphasis on storytelling, which unfolds through a "rich, personal narrative", and complex character interaction through the familiar dialog tree system. The player is able to select the gender of the protagonist, who will otherwise start the game as a "blank slate", and may develop his or her skills and personality from their interactions with the world. The Numenera setting provides three base character classes: Glaive (warrior), Nano (wizard) and Jack (rogue). These classes can be further customized with a number of descriptors (such as "Tough" or "Mystical") and foci, which allow the character to excel in a certain role or combat style. Instead of a classic alignment system acting as a character's ethical and moral compass, Torment: Tides of Numenera uses "Tides" to represent the reactions a person inspires in their peers. Each Tide has a specific color and embodies a number of nuanced concepts that are associated with it. The composition of Tides a character has manipulated the most determines their Legacy, which roughly describes the way they have taken in life. Different Legacies may affect what bonuses and powers certain weapons and relics provide, as well as give a character special abilities and enhance certain skills. == Synopsis == === Setting === Tides of Numenera has a science fantasy setting. In the far future (one billion years), the rise and fall of countless civilizations have left Earth in a roughly medieval state, with most of humanity living in simple settlements, surrounded by technological relics of the mysterious past. The current age is called the "Ninth World" by its scholars, who believe that eight great ages existed and were destroyed, disappeared or left the Earth for unknown reasons before the present day, leaving ruins and various oddities and artifacts behind. These artifacts are known as the "numenera" and represent what is left of the science and technology of these past civilizations. Many of them are irreparably broken, but some are still able to function in ways that are beyond the level of understanding of most humans, who believe these objects to be magical in nature. === Characters === Character complexity and dialogue depth were identified among the primary elements of the Planescape: Torment legacy to be preserved and refined by the developers of Torment: Tides of Numenera. The tormented nature of the game's protagonist, the Last Castoff, attracts other, similarly affected people. They will play a significant role in his or her story as friends and companions, or as powerful enemies. The game contains seven companions in total: Aligern, Callistege, Erritis, Matkina, Oom, Tybir, and Rhin. === Plot === The protagonist of the story, known as the Last Castoff, is the final vessel for the consciousness of an ancient man, who managed to find a way to leave his physical body and be reborn in a new one, thus achieving a kind of immortality by means of the relics. The actions of this man, known as the Changing God to some, attracted the enmity of "The Sorrow" (renamed from "The Angel of Entropy" to reduce the potential to imply a religious role), who now seeks to destroy him and his creations. The Last Castoff, being one such "creation", is also targeted by the Sorrow, and must find their master before both are undone. To do so, the protagonist must explore the Ninth World, discovering other castoffs, making friends and enemies along the way. One means of such exploration are the "Meres" – artifacts that let their user gain control over the lives of other castoffs, and experience different worlds or dimensions through them. Through these travels the Last Castoff will leave their mark on the world – their Legacy – and will find an answer to the fundamental question of the story: What does one life matter? While the overall story varies wildly depending on personal preferences and specific interactions, the central storyline follows the Last Castoff as they search for a way to defeat or escape the Sorrow. They explore Sagus Cliffs after falling from a great height into a domed structure, destroying an artifact known as a resonance chamber that is believed to be capable saving the Last Castoff from the Sorrow. Finding another castoff, Matkina, The Last uses a Mere, a repository of memory to locate the entrance to Sanctuary. Using the Mere also alters the past, allowing Matkina to be healed of her mental damage. The Last finds Sanctuary, which the Changing God created as a hiding place from the Sorrow, where the Last finds a number of castoffs who represent both sides of the Eternal War: a conflict between followers of the Changing God, and followers of the First Castoff, who believe the God is selfish and malevolent. The Sorrow breaches Sanctuary after the Last is told that the resonance chamber will "defeat" the Sorrow by destroying every castoff in existence. After escaping the Sorrow through a portal to the Bloom, an apparition appears claiming to be the actual Changing God and attempts to possess the Last by force of will. == Development == In a 2007 interview, designers Chris Avellone and Colin McComb, who had worked on Planescape: Torment, stated that although a direct sequel was not considered because the game's story was over, they were open to the idea of a similar-themed Planescape game if they could gather most of the original development team and find an "understanding set of investors". This combination was deemed infeasible at the time. Talks about creating a sequel with the help of a crowd funding platform resumed in 2012, but attempts to acquire a Planescape license from Wizards of the Coast failed. Later that year, Colin McComb joined inXile, which was at the time working on its successfully crowd funded Wasteland 2 project. The studio gained the rights to the Torment title shortly thereafter. In January 2013, inXile's CEO Brian Fargo announced that the spiritual successor to Planescape: Torment was in pre-production and would be set in the Numenera RPG universe created by Monte Cook. Cook acted as one of the designers of the Planescape setting, and Fargo saw the Numenera setting as the natural place to continue the themes of the previous Torment title. Although the connections to its predecessor will not be relatively overt, due to licensing issues, it was noted that certain traditional RPG elements are relatively hard to copyright, and some elements of Planescape: Torment may make a reappearance. Development of the game began shortly after the acquisition of the Torment license, and various inXile staff will transition over to the Numenera team as production on Wasteland 2 winds down. In late January 2013, inXile confirmed the game's title as Torment: Tides of Numenera, and announced that Planescape: Torment composer Mark Morgan would create the soundtrack. The pre-production period was initially expected to continue until October 2013. During this phase, team composition for the project was to be finalised and development would focus on production planning, game design and dialog writing. With the Wasteland 2 project facing delays in 2014, full production of Torment: Tides of Numenera was rescheduled to a later date. A Kickstarter campaign to crowd fund Torment: Tides of Numenera was launched on March 6, 2013 with a US$900,000 goal. Project director Kevin Saunders explained this choice of a funding source by stating that the traditional publisher-based funding model is flawed

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