AI Generator Tool

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

  • Application-release automation

    Application-release automation

    Application-release automation (ARA) refers to the process of packaging and deploying an application or update of an application from development, across various environments, and ultimately to production. ARA solutions must combine the capabilities of deployment automation, environment management and modeling, and release coordination. == Relationship with DevOps == ARA tools help cultivate DevOps best practices by providing a combination of automation, environment modeling and workflow-management capabilities. These practices help teams deliver software rapidly, reliably and responsibly. ARA tools achieve a key DevOps goal of implementing continuous delivery with a large quantity of releases quickly. == Relationship with deployment == ARA is more than just software-deployment automation – it deploys applications using structured release-automation techniques that allow for an increase in visibility for the whole team. It combines workload automation and release-management tools as they relate to release packages, as well as movement through different environments within the DevOps pipeline. ARA tools help regulate deployments, how environments are created and deployed, and how and when releases are deployed. == ARA Solutions == All ARA solutions must include capabilities in automation, environment modeling, and release coordination. Additionally, the solution must provide this functionality without reliance on other tools.

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  • Data processing unit

    Data processing unit

    A data processing unit (DPU) is a programmable computer processor that tightly integrates a general-purpose CPU with network interface hardware. They are also occasionally called "IPUs" (infrastructure processing unit) or "SmartNICs". They can be used in place of traditional NICs to relieve the main CPU of complex networking responsibilities and other "infrastructural" duties; although their features vary, they may be used to perform encryption/decryption, serve as a firewall, handle TCP/IP, process HTTP requests, or even function as a hypervisor or storage controller. These devices can be attractive to cloud computing providers whose servers might otherwise spend a significant amount of CPU time on these tasks, cutting into the cycles they can provide to guests. They see use in other kinds of data center environments as well due to their improved power consumption efficiency for routine networking tasks compared to general-purpose CPUs.

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  • Xaitment

    Xaitment

    xaitment is a German-based company that develops and sells artificial intelligence (AI) software to video game developers and simulation developers. The company was founded in 2004 by Dr. Andreas Gerber, and is a spin-off of the German Research Centre for Artificial Intelligence, or DFKI. xaitment has its main office in Quierschied, Germany, and field offices in San Francisco and China. == Products == xaitment currently sells two AI software modules: xaitMap and xaitControl. xaitMap provides runtime libraries and graphical tools for navigation mesh generation (also called NavMesh generation), pathfinding, dynamic collision avoidance, and individual and crowd movement. xaitControl is a finite-state machine for game logic and character behavior modeling that also includes a real-time debugger. On January 11, 2012, xaitment announced that it making its source code for these modules available to "all current and future US and European licensees". On February 22, 2012 xaitment released two new plug-ins, xaitMap and xaitControl for the Unity Game Engine. The full versions are available for PC (Windows and Linux), PlayStation 3, Xbox 360 and Wii. The pathfinding plug-in is available with a Windows dev environment, but can deployed on iOS, Mac, Android and the Unity Web Player. == Partners == xaitment's AI software is currently integrated into the Unity game engine, Havok's Vision Engine, Bohemia Interactive's VBS2 Simulation Engine, GameBase's Gamebryo game engine. == Customers == xaitment sells its AI software products to video game developers and military and civil simulation developers. Current customers include Tencent, gamania, TML Studios, Emobi Games, IP Keys and others. A full list of customers can be found on xaitment's website.

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  • Death of Elaine Herzberg

    Death of Elaine Herzberg

    The death of Elaine Herzberg (August 2, 1968 – March 18, 2018) was the first recorded case of a pedestrian fatality involving a self-driving car, after a collision that occurred late in the evening of March 18, 2018. Herzberg was pushing a bicycle across a four-lane road in Tempe, Arizona, United States, when she was struck by an Uber test vehicle, which was operating in self-drive mode with a human safety backup driver sitting in the driving seat. Herzberg was taken to the local hospital where she died of her injuries. Following the fatal incident, the National Transportation Safety Board (NTSB) issued a series of recommendations and sharply criticized Uber. The company suspended testing of self-driving vehicles in Arizona, where such testing had been approved since August 2016. Uber chose not to renew its permit for testing self-driving vehicles in California when it expired at the end of March 2018. Uber resumed testing in December 2018, starting in Pittsburgh, Pennsylvania. In March 2019, Arizona prosecutors ruled that Uber was not criminally responsible for the crash. The back-up driver of the vehicle was charged with negligent homicide, pled guilty to endangerment, and was sentenced to three years' probation. While Herzberg was the first pedestrian killed by a self-driving car, driver Gao Yaning died in a Tesla semi-autonomous car two years earlier. A reporter for The Washington Post compared Herzberg's fate with that of Bridget Driscoll who, in the United Kingdom in 1896, was the first pedestrian to be killed by an automobile. The Arizona incident has magnified the importance of collision avoidance systems for self-driving vehicles. == Collision summary == Herzberg was crossing Mill Avenue (North) from west to east, approximately 360 feet (110 m) south of the intersection with Curry Road, outside the designated pedestrian crosswalk, close to the Red Mountain Freeway. She was pushing a bicycle laden with shopping bags, and had crossed at least two lanes of traffic when she was struck at approximately 9:58 pm MST (UTC−07:00) by a prototype Uber self-driving car based on a Volvo XC90, which was traveling north on Mill. The vehicle had been operating in autonomous mode since 9:39 pm, nineteen minutes before it struck and killed Herzberg. The car's human safety backup driver, Rafaela Vasquez, did not intervene in time to prevent the collision. Vehicle telemetry obtained after the crash showed that the human operator responded by moving the steering wheel less than a second before impact, and she engaged the brakes less than a second after impact. == Cause investigation == The county district attorney's office recused itself from the investigation, due to a prior joint partnership with Uber promoting their services as an alternative to driving under the influence of alcohol. Accounts differ on the speed limit at the place of the incident. According to Tempe police the car was traveling in a 35 mph (56 km/h) zone, but this is contradicted by a posted speed limit of 45 mph (72 km/h). The National Transportation Safety Board (NTSB) sent a team of federal investigators to gather data from vehicle instruments, and to examine vehicle condition along with the actions taken by the safety driver. Their preliminary findings were substantiated by multiple event data recorders and proved the vehicle was traveling 43 miles per hour (69 km/h) when Herzberg was first detected 6 seconds (378 feet (115 m)) before impact; during 4.7 seconds the self driving system did not infer that emergency braking was needed. A vehicle traveling 43 mph (69 km/h) can generally stop within 89 feet (27 m) once the brakes are applied. The machine needed to be 1.3 seconds (82 feet (25 m)) away prior to discerning that emergency braking was required, whereas at least that much distance was required to stop. The system failed to behave properly. A total stopping distance of 76 feet itself would imply a safe speed under 25 mph (40 km/h). Human intervention was still legally required. Computer perception–reaction time would have been a speed limiting factor had the technology been superior to humans in ambiguous situations; however, the nascent computerized braking technology was disabled the day of the crash, and the machine's apparent 4.7-second perception–reaction (alarm) time allowed the car to travel 250 feet (76 m). Video released by the police on March 21 showed the safety driver was not watching the road moments before the vehicle struck Herzberg. === Environment === In widely disseminated remarks that would shape the narrative about the crash, which were later seen as prejudicial and subsequently contradicted by her own department, Tempe Police Chief Sylvia Moir was quoted stating that the collision was "unavoidable" based on the initial police investigation, which included a review of the video captured by an onboard camera. Moir faulted Herzberg for crossing the road in an unsafe manner: "It is dangerous to cross roadways in the evening hour when well-illuminated, managed crosswalks are available." According to Uber, safety drivers were trained to keep their hands very close to the wheel all the time while driving the vehicle so they were ready to quickly take control if necessary. The driver said it was like a flash, the person walked out in front of them. His [sic] first alert to the collision was the sound of the collision. [...] it's very clear it would have been difficult to avoid this collision in any kind of mode (autonomous or human-driven) based on how she came from the shadows right into the roadway. Tempe police released video on March 21, 2018, showing footage recorded by two onboard cameras: one forward-looking, and one capturing the safety driver's actions. The forward-facing video shows that the self-driving car was traveling in the far right lane when it struck Herzberg. The driver-facing video shows the safety driver was looking down prior to the collision. The Uber operator is responsible for intervening and taking manual control when necessary as well as for monitoring diagnostic messages, which are displayed on a screen in the center console. In an interview conducted after the crash with NTSB, the driver stated she was monitoring the center stack at the time of the collision. After the Uber video was released, journalist Carolyn Said noted the police explanation of Herzberg's path meant she had already crossed two lanes of traffic before she was struck by the autonomous vehicle. The Marquee Theatre and Tempe Town Lake are west of Mill Avenue, and pedestrians commonly cross mid-street without detouring north to the crosswalk at Curry. According to reporting by the Phoenix New Times, Mill Avenue contains what appears to be a brick-paved path in the median between the northbound and southbound lanes; however, posted signs prohibit pedestrians from crossing in that location. When the second of the Mill Avenue bridges over the town lake was added in 1994 for northbound traffic, the X-shaped crossover in the median was installed to accommodate the potential closing of one of the two road bridges. The purpose of this brick-paved structure is purely to divert cars from one side to the other if a bridge is closed to traffic, and although it may look like a crosswalk for pedestrians, it is in fact a temporary roadway with vertical curbs and warning signs. === Software issues === Michael Ramsey, a self-driving car expert with Gartner, characterized the video as showing "a complete failure of the system to recognize an obviously seen person who is visible for quite some distance in the frame. Uber has some serious explaining to do about why this person wasn't seen and why the system didn't engage." The NTSB preliminary report, however, noted that the software did order the car to brake 1.3 seconds before the collision. A video shot from the vehicle's dashboard camera showed the safety driver looking down, away from the road. It also appeared that the driver's hands were not hovering above the steering wheel, which is what drivers are instructed to do so they can quickly retake control of the car. Uber had moved from two employees in every car to one. The paired employees had been splitting duties: one ready to take over if the autonomous system failed, and another to keep an eye on what the computers were detecting. The second person was responsible for keeping track of system performance as well as labeling data on a laptop computer. Mr. Kallman, the Uber spokesman, said the second person was in the car for purely data related tasks, not safety. When Uber moved to a single operator, some employees expressed safety concerns to managers, according to the two people familiar with Uber's operations. They were worried that going solo would make it harder to remain alert during hours of monotonous driving. The recorded telemetry showed the system had detected Herzberg six seconds before the crash, and classified her first as an unknown object, then as a

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  • Reasoning model

    Reasoning model

    A reasoning model, also known as a reasoning language model (RLM) or large reasoning model (LRM), is a type of large language model (LLM) that has been specifically trained to solve complex tasks requiring multiple steps of logical reasoning. These models demonstrate superior performance on logic, mathematics, and programming tasks compared to standard LLMs. They possess the ability to revisit and revise earlier reasoning steps and utilize additional computation during inference as a method to scale performance, complementing traditional scaling approaches based on training data size, model parameters, and training compute. == Overview == Unlike traditional language models that generate responses immediately, reasoning models allocate additional compute, or thinking, time before producing an answer to solve multi-step problems. OpenAI introduced this terminology in September 2024 when it released the o1 series, describing the models as designed to "spend more time thinking" before responding. The company framed o1 as a reset in model naming that targets complex tasks in science, coding, and mathematics, and it contrasted o1's performance with GPT-4o on benchmarks such as AIME and Codeforces. Independent reporting the same week summarized the launch and highlighted OpenAI's claim that o1 automates chain-of-thought style reasoning to achieve large gains on difficult exams. In operation, reasoning models generate internal chains of intermediate steps, then select and refine a final answer. OpenAI reported that o1's accuracy improves as the model is given more reinforcement learning during training and more test-time compute at inference. The company initially chose to hide raw chains and instead return a model-written summary, stating that it "decided not to show" the underlying thoughts so researchers could monitor them without exposing unaligned content to end users. Commercial deployments document separate "reasoning tokens" that meter hidden thinking and a control for "reasoning effort" that tunes how much compute the model uses. These features make the models slower than ordinary chat systems while enabling stronger performance on difficult problems. == History == The research trajectory toward reasoning models combined advances in supervision, prompting, and search-style inference. Early alignment work on reinforcement learning from human feedback showed that models can be fine-tuned to follow instructions with "human feedback" and preference-based rewards. In 2022, Google Research scientists Jason Wei and Denny Zhou showed that chain-of-thought prompting "significantly improves the ability" of large models on complex reasoning tasks. Input → Step 1 → Step 2 → ⋯ → Step n ⏟ Reasoning chain → Answer {\displaystyle {\text{Input}}\rightarrow \underbrace {{\text{Step}}_{1}\rightarrow {\text{Step}}_{2}\rightarrow \cdots \rightarrow {\text{Step}}_{n}} _{\text{Reasoning chain}}\rightarrow {\text{Answer}}} A companion result demonstrated that the simple instruction "Let's think step by step" can elicit zero-shot reasoning. Follow-up work introduced self-consistency decoding, which "boosts the performance" of chain-of-thought by sampling diverse solution paths and choosing the consensus, and tool-augmented methods such as ReAct, a portmanteau of Reason and Act, that prompt models to "generate both reasoning traces" and actions. Research then generalized chain-of-thought into search over multiple candidate plans. The Tree-of-Thoughts framework from Princeton computer scientist Shunyu Yao proposes that models "perform deliberate decision making" by exploring and backtracking over a tree of intermediate thoughts. OpenAI's reported breakthrough focused on supervising reasoning processes rather than only outcomes, with Lightman et al.'s "Let's Verify Step by Step" reporting that rewarding each correct step "significantly outperforms outcome supervision" on challenging math problems and improves interpretability by aligning the chain-of-thought with human judgment. OpenAI's o1 announcement ties these strands together with a large-scale reinforcement learning algorithm that trains the model to refine its own chain of thought, and it reports that accuracy rises with more training compute and more time spent thinking at inference. Together, these developments define the core of reasoning models. They use supervision signals that evaluate the quality of intermediate steps, they exploit inference-time exploration such as consensus or tree search, and they expose controls for how much internal thinking compute to allocate. OpenAI's o1 family made this approach available at scale in September 2024 and popularized the label "reasoning model" for LLMs that deliberately think before they answer. The development of reasoning models illustrates Richard S. Sutton's "bitter lesson" that scaling compute typically outperforms methods based on human-designed insights. This principle was demonstrated by researchers at the Generative AI Research Lab (GAIR), who initially attempted to replicate o1's capabilities using sophisticated methods including tree search and reinforcement learning in late 2024. Their findings, published in the "o1 Replication Journey" series, revealed that knowledge distillation, a comparatively straightforward technique that trains a smaller model to mimic o1's outputs, produced unexpectedly strong performance. This outcome illustrated how direct scaling approaches can, at times, outperform more complex engineering solutions. === Drawbacks === Reasoning models require significantly more computational resources during inference compared to non-reasoning models. Research on the American Invitational Mathematics Examination (AIME) benchmark found that reasoning models were 10 to 74 times more expensive to operate than their non-reasoning counterparts. The extended inference time is attributed to the detailed, step-by-step reasoning outputs that these models generate, which are typically much longer than responses from standard large language models that provide direct answers without showing their reasoning process. One researcher in early 2025 argued that these models may face potential additional denial-of-service concerns with "overthinking attacks." === Releases === ==== 2024 ==== In September 2024, OpenAI released o1-preview, a large language model with enhanced reasoning capabilities. The full version, o1, was released in December 2024. OpenAI initially shared preliminary results on its successor model, o3, in December 2024, with the full o3 model becoming available in 2025. Alibaba released reasoning versions of its Qwen large language models in November 2024. In December 2024, the company introduced QvQ-72B-Preview, an experimental visual reasoning model. In December 2024, Google introduced Deep Research in Gemini, a feature designed to conduct multi-step research tasks. On December 16, 2024, researchers demonstrated that by scaling test-time compute, a relatively small Llama 3B model could outperform a much larger Llama 70B model on challenging reasoning tasks. This experiment suggested that improved inference strategies can unlock reasoning capabilities even in smaller models. ==== 2025 ==== In January 2025, DeepSeek released R1, a reasoning model that achieved performance comparable to OpenAI's o1 at significantly lower computational cost. The release demonstrated the effectiveness of Group Relative Policy Optimization (GRPO), a reinforcement learning technique used to train the model. On January 25, 2025, DeepSeek enhanced R1 with web search capabilities, allowing the model to retrieve information from the internet while performing reasoning tasks. Research during this period further validated the effectiveness of knowledge distillation for creating reasoning models. The s1-32B model achieved strong performance through budget forcing and scaling methods, reinforcing findings that simpler training approaches can be highly effective for reasoning capabilities. On February 2, 2025, OpenAI released Deep Research, a feature powered by their o3 model that enables users to conduct comprehensive research tasks. The system generates detailed reports by automatically gathering and synthesizing information from multiple web sources. OpenAI called GPT-4.5 its "last non-chain-of-thought model", and implemented with GPT-5 a router model that selects a model based on the difficulty of the task. ==== 2026 ==== In January 2026, Moonshot AI released Kimi K2.5, an open-source 1 trillion parameter MoE model with 32 billion active parameters. It uses an “Agent Swarm” system that dynamically decomposes tasks into sub-agents for reasoning and execution, enabling more scalable multi-step problem solving than a single sequential reasoning chain. == Training == Reasoning models follow the familiar large-scale pretraining used for frontier language models, then diverge in the post-training and optimization. OpenAI reports that o1 is trained with a large-

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  • Torment: Tides of Numenera

    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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  • 2024 Bilderberg Conference

    2024 Bilderberg Conference

    The 2024 Bilderberg Conference was held between May 30–June 2, 2024 in Madrid, Spain at the Eurostars Suites Mirasierra hotel. The 2024 meeting was the 70th edition of the event. A Bilderberg Group press release stated that there were 131 participants from around 25 countries. Established in 1954 by Prince Bernhard of the Netherlands, Bilderberg conferences (or meetings) are an annual private gathering of the European and North American political and business elite. Events are attended by between 120 and 150 people each year invited by the Bilderberg Group's steering committee; including prominent politicians, CEOs, national security experts, academics and journalists. Several US presidents have attended the meetings before winning a presidential election. These politicians include Bill Clinton and Barack Obama. Bilderberg conferences operate under the Chatham House Rule, meaning that participants are sworn to secrecy and cannot disclose the identity or affiliation of any particular speaker. == Agenda == The key topics for discussion were announced on the Bilderberg website shortly before the meeting. These topics included: == Participants == A list of 131 participants was published on the Bilderberg website. This list may not be complete, as a source connected to the Bilderberg group told The Daily Telegraph in 2013 that some attendees do not have their names publicized. King Felipe VI of Spain was reported to have attended the meeting despite his name not being on the list.

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  • Shadowrun

    Shadowrun

    Shadowrun is a science fantasy tabletop role-playing game set in an alternate future in which cybernetics, magic and fantasy creatures co-exist. It combines genres of cyberpunk, urban fantasy, and crime, with occasional elements of conspiracy, horror, and detective fiction. From its inception in 1989, it has spawned a franchise that includes a series of novels, a collectible card game, two miniature-based tabletop wargames, and multiple video games. The title is taken from the game's main premise – a near-future world damaged by a massive magical event, where industrial espionage and corporate warfare runs rampant. A shadowrun – a successful data theft or physical break-in at a rival corporation or organization – is one of the main tools employed by both corporate rivals and underworld figures. Deckers (futuristic hackers) can tap into an immersive, three-dimensional cyberspace on such missions as they seek access, physical or remote, to the power structures of rival groups. They are opposed by rival deckers and lethal, potentially brain-destroying artificial intelligences called "Intrusion Countermeasures" (IC), while they are protected by street fighters and/or mercenaries, often with cyborg implants (called cyberware), magicians, and other exotic figures. Magic has also returned to the world after a series of plagues; dragons who can take human form have returned as well, and are commonly found in high positions of corporate power. == Publication history == Shadowrun was developed and published by FASA from 1989 until early 2001, when the company closed and Shadowrun was transferred to WizKids, a company founded by former FASA employees. Two years before its closure, FASA sold its videogame branch, FASA Interactive, to Microsoft corporation, keeping rights to publishing novels and pen and paper RPGs. Since then, digital rights to Shadowrun IP have belonged to Microsoft. WizKids licensed the RPG rights to Fantasy Productions, who were already publishing a German version, until WizKids was acquired by Topps in 2003. Catalyst Game Labs, a publishing imprint of InMediaRes Productions, licensed the rights from Topps to publish new products. WizKids itself produced an unsuccessful collectible action figure game based on the property, called Shadowrun Duels. A fifth edition of Shadowrun was announced in December 2012. A limited-edition softcover was sold at the Origins Game Fair in June 2013, and the PDF in July 2013. A hardcover was published in August 2013. Shadowrun Anarchy was published in October 2016 It is a simplified version of the ruleset which allows focus more on the narration than on the rules. The sixth edition, called Shadowrun, Sixth World, was announced on May 1, 2019 to coincide with the game's 30th anniversary, along with a new website at shadowrunsixthworld.com. The game was published on August 26, 2019. The mechanics for this new version are generally similar to those of fifth edition, with some rules reworked for what line developer Jason Hardy describes as streamlining. This new version also progressed the in-game year to 2080. Since 2004, Shadowrun Missions (SRM) has offered fans "living campaigns" that allow for persistent character advancement. SRM is broken down into seasons which are made up of up to 24 individual missions that can be played at home, with special missions available to play exclusively at conventions. Each SRM season develops an overarching plot focused on a specific city from the Shadowrun setting. Missions settings have included the divided city of Denver, the corporate city-state of Manhattan, the Seattle Metroplex city-state, the formerly walled-off wastelands of Chicago, and Neo-Tokyo. For Shadowrun, Sixth World missions returned to Seattle, with twenty-four missions set in 2081, right after Seattle declared independence from the UCAS. The current Shadowrun Missions setting is 2083 New Orleans. The Shadowrun role-playing game has spawned several properties, including Shadowrun: The Trading Card Game, eight video games, an action figure game (Shadowrun Duels), two magazines, an art book and more than 50 novels, starting with the Secrets of Power series which introduces some of the original characters of Shadowrun and provides an introduction to this fictional universe. In addition to the main rule book there have been over 100 published supplements including adventures and expansions to both the rules and the game settings. Catalyst Game Labs announced that 2013 would be "The Year of Shadowrun," and in addition to the release of Shadowrun fifth edition that it has collaborated with publishers on the following properties: Shadowrun: Crossfire, The Adventure Deck-building Game; Shadowrun: Sprawl Gangers, a tactical miniatures wargame; and Shadowrun: Hostile Takeover, a board game designed by Bryan C.P. Steele was planned for release in late 2014/early 2015. Catalyst had been in collaboration with Nordic Games and Cliffhanger Studios to create Shadowrun Chronicles: Boston Lockdown online RPG, however it was shuttered November 30, 2018, with the producers citing lack of funding and the end of the license terms for use of the IP. == Fictional universe == Shadowrun takes place several decades in the future (2050 in the first edition, currently 2088). The end of the Mesoamerican Long Count calendar ushered in the "Sixth World", with once-mythological beings (e.g. dragons) appearing and forms of magic suddenly emerging. Large numbers of humans have "Goblinized" into orks and trolls, while many human children are born as elves, dwarves, and even more exotic creatures. In North America, indigenous peoples discovered that their traditional ceremonies allow them to command powerful spirits, and rituals associated with a new Ghost Dance movement let them take control of much of the western U.S. and Canada, where they formed a federation of Native American Nations. Seattle remains under U.S. control by treaty as a city-state enclave, and most game materials are set there and assume campaigns will use it as their setting. In parallel with these magical developments, the setting's 21st century features technological and social developments associated with cyberpunk science fiction. Megacorporations control the lives of their employees and command their own armies; many of the largest have extraterritoriality, such as currently enjoyed by foreign heads of state. Technological advances make cyberware (mechanical replacement body parts) and bioware (augmented vat-grown body parts implanted in place of or in tandem with natural organs) common. The Computer Crash of 2029 led to the creation of the Matrix, a worldwide computer network that users interact with via direct neural interface. When conflicts arise, corporations, governments, organized crime syndicates, and even wealthy individuals subcontract their dirty work to specialists, who then perform "shadowruns" or missions undertaken by deniable assets without identities or those that wish to remain unknown. The most skilled of these specialists, called shadowrunners, have earned a reputation for getting the job done. They have developed a knack for staying alive, and prospering, in the world of Shadowrun. The Shadowrun world is cross-genre, incorporating elements of both cyberpunk and urban fantasy. Unlike in a purely cyberpunk game, in the Shadowrun world, magic exists and has "worked" since 2011. Among other things, this split humankind into subtypes, also known as metatypes/metahumans. Some of these metatypes take the form of common fantasy races. Likewise, some animals have turned into familiar monsters of past fantasy and lore and both monsters and human magicians have regained magical powers. By the second half of the 21st century, in the time the game is set, these events are accepted as commonplace. Man, machine, and magic exist in a world where the amazing is among the most common and technology has entered into every facet of human (and metahuman) life. === Races === Characters in Shadowrun can be humans, orks, trolls, elves, dwarves, as well as certain diverging subspecies (known as metavariants) such as gnomes, giants, dryads, etc. In the early days, when magic returned to the world, humans began to either change into, or give birth to, elf and dwarf infants, a phenomenon called Unexplained Genetic Expression (UGE). Later, some juvenile and adult humans "goblinized" into other races (mostly orks, but also some trolls). The term "metahuman" is used either to refer to humanity as a whole, including all races, or to refer specifically to non-human races, depending on context. The return of Halley's Comet brought even further variation in the form of changelings, who have variation atypical to their metatype or even species, such as electroreception. Two of the metahuman races, elves and orks, have fictional languages. Additionally, a virus known as the Human Meta-Human Vampiric Virus (HMHVV), with many variant strains, has been known to cause f

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  • Pixel aspect ratio

    Pixel aspect ratio

    A pixel aspect ratio (PAR) is a mathematical ratio that describes how the width of a pixel in a digital image compares to the height of that pixel. Most digital imaging systems display an image as a grid of tiny, square pixels. However, some imaging systems, especially those that must be compatible with standard-definition television motion pictures, display an image as a grid of rectangular pixels, in which the pixel width and height are different. Pixel aspect ratio describes this difference. Use of pixel aspect ratio mostly involves pictures pertaining to standard-definition television and some other exceptional cases. Most other imaging systems, including those that comply with SMPTE standards and practices, use square pixels. PAR is also known as sample aspect ratio and abbreviated SAR, though it can be confused with storage aspect ratio. == Introduction == The ratio of the width to the height of an image is known as the aspect ratio, or more precisely the display aspect ratio (DAR) – the aspect ratio of the image as displayed; for TV, DAR was traditionally 4:3 (a.k.a. fullscreen), with 16:9 (a.k.a. widescreen) now the standard for HDTV. In digital images, there is a distinction with the storage aspect ratio (SAR), which is the ratio of pixel dimensions. If an image is displayed with square pixels, then these ratios agree; if not, then non-square, "rectangular" pixels are used, and these ratios disagree. The aspect ratio of the pixels themselves is known as the pixel aspect ratio (PAR) – for square pixels this is 1:1 – and these are related by the identity: Rearranging (solving for PAR) yields: For example: A 640 × 480 VGA image has a SAR of 640/480 = 4:3, and if displayed on a 4:3 display (DAR = 4:3) has square pixels, hence a PAR of 1:1. By contrast, a 720 × 576 D-1 PAL image has a SAR of 720/576 = 5:4, but if displayed on a 4:3 display (DAR = 4:3) the PAR is 4/3 : 5/4 = 16:15 ≈ 1.066. This means that the pixels of the PAL picture must be "stretched" by this amount to fit in the 4:3 display. In analog images such as film there is no notion of pixel, nor notion of SAR or PAR, but in the digitization of analog images the resulting digital image has pixels, hence SAR (and accordingly PAR, if displayed at the same aspect ratio as the original). Non-square pixels arise often in early digital TV standards, related to digitalization of analog TV signals – whose vertical and "effective" horizontal resolutions differ and are thus best described by non-square pixels – and also in some digital video cameras and computer display modes, such as Color Graphics Adapter (CGA). Today they arise also in transcoding between resolutions with different SARs. Actual displays do not generally have non-square pixels, though digital sensors might; they are rather a mathematical abstraction used in resampling images to convert between resolutions. There are several complicating factors in understanding PAR, particularly as it pertains to digitization of analog video: First, analog video does not have pixels, but rather a raster scan, and thus has a well-defined vertical resolution (the lines of the raster), but not a well-defined horizontal resolution, since each line is an analog signal. However, by a standardized sampling rate, the effective horizontal resolution can be determined by the sampling theorem, as is done below. Second, due to overscan, some of the lines at the top and bottom of the raster are not visible, as are some of the possible image on the left and right – see Overscan: Analog to digital resolution issues. Also, the resolution may be rounded (DV NTSC uses 480 lines, rather than the 486 that are possible). Third, analog video signals are interlaced – each image (frame) is sent as two "fields", each with half the lines. Thus either the pixels are twice as tall as they would be without interlacing, or the image is deinterlaced. == Background == Video is presented as a sequential series of images called video frames. Historically, video frames were created and recorded in analog form. As digital display technology, digital broadcast technology, and digital video compression evolved separately, it resulted in video frame differences that must be addressed using pixel aspect ratio. Digital video frames are generally defined as a grid of pixels used to present each sequential image. The horizontal component is defined by pixels (or samples), and is known as a video line. The vertical component is defined by the number of lines, as in 480 lines. Standard-definition television standards and practices were developed as broadcast technologies and intended for terrestrial broadcasting, and were therefore not designed for digital video presentation. Such standards define an image as an array of well-defined horizontal "Lines", well-defined vertical "Line Duration" and a well-defined picture center. However, there is not a standard-definition television standard that properly defines image edges or explicitly demands a certain number of picture elements per line. Furthermore, analog video systems such as NTSC 480i and PAL 576i, instead of employing progressively displayed frames, employ fields or interlaced half-frames displayed in an interwoven manner to reduce flicker and double the image rate for smoother motion. === Analog-to-digital conversion === As a result of computers becoming powerful enough to serve as video editing tools, video digital-to-analog converters and analog-to-digital converters were made to overcome this incompatibility. To convert analog video lines into a series of square pixels, the industry adopted a default sampling rate at which luma values were extracted into pixels. The luma sampling rate for 480i pictures was 12+3⁄11 MHz and for 576i pictures was 14+3⁄4 MHz. The term pixel aspect ratio was first coined when ITU-R BT.601 (commonly known as Rec. 601) specified that standard-definition television pictures are made of lines of exactly 720 non-square pixels. ITU-R BT.601 did not define the exact pixel aspect ratio but did provide enough information to calculate the exact pixel aspect ratio based on industry practices: The standard luma sampling rate of precisely 13+1⁄2 MHz. Based on this information: The pixel aspect ratio for 480i would be 10:11 as: 12 3 11 ÷ 13 1 2 = 10 11 {\displaystyle 12{\tfrac {3}{11}}\div 13{\tfrac {1}{2}}={\tfrac {10}{11}}} The pixel aspect ratio for 576i would be 59:54 as: 14 3 4 ÷ 13 1 2 = 59 54 {\displaystyle 14{\tfrac {3}{4}}\div 13{\tfrac {1}{2}}={\tfrac {59}{54}}} SMPTE RP 187 further attempted to standardize the pixel aspect ratio values for 480i and 576i. It designated 177:160 for 480i or 1035:1132 for 576i. However, due to significant difference with practices in effect by industry and the computational load that they imposed upon the involved hardware, SMPTE RP 187 was simply ignored. SMPTE RP 187 information annex A.4 further suggested the use of 10:11 for 480i. As of this writing, ITU-R BT.601-6, which is the latest edition of ITU-R BT.601, still implies that the pixel aspect ratios mentioned above are correct. === Digital video processing === As stated above, ITU-R BT.601 specified that standard-definition television pictures are made of lines of 720 non-square pixels, sampled with a precisely specified sampling rate. A simple mathematical calculation reveals that a 704 pixel width would be enough to contain a 480i or 576i standard 4:3 picture: A 4:3 480-line picture, digitized with the Rec. 601-recommended sampling rate, would be 704 non-square pixels wide. x 480 × 10 11 = 4 3 ⇒ x = 480 × 11 × 4 10 × 3 = 704 {\displaystyle {\frac {x}{480}}\times {\frac {10}{11}}={\frac {4}{3}}\Rightarrow x={\frac {480\times 11\times 4}{10\times 3}}=704} A 4:3 576-line picture, digitized with the Rec. 601-recommended sampling rate, would be 702+54⁄59 non-square pixels wide. x 576 × 59 54 = 4 3 ⇒ x = 576 × 54 × 4 59 × 3 = 702 54 59 {\displaystyle {\frac {x}{576}}\times {\frac {59}{54}}={\frac {4}{3}}\Rightarrow x={\frac {576\times 54\times 4}{59\times 3}}=702{\tfrac {54}{59}}} Unfortunately, not all standard TV pictures are exactly 4:3: As mentioned earlier, in analog video, the center of a picture is well-defined but the edges of the picture are not standardized. As a result, some analog devices (mostly PAL devices but also some NTSC devices) generated motion pictures that were horizontally (slightly) wider. This also proportionately applies to anamorphic widescreen (16:9) pictures. Therefore, to maintain a safe margin of error, ITU-R BT.601 required sampling 16 more non-square pixels per line (8 more at each edge) to ensure saving all video data near the margins. This requirement, however, had implications for PAL motion pictures. PAL pixel aspect ratios for standard (4:3) and anamorphic wide screen (16:9), respectively 59:54 and 118:81, were awkward for digital image processing, especially for mixing PAL and NTSC video clips. Therefore, video editing products chose the almost equivalent value

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  • The Quantum Thief

    The Quantum Thief

    The Quantum Thief is the debut science fiction novel by Finnish writer Hannu Rajaniemi and the first novel in a trilogy featuring the character of Jean le Flambeur; the sequels are The Fractal Prince (2012) and The Causal Angel (2014). The novel was published in Britain by Gollancz in 2010, and by Tor in 2011 in the US. It is a heist story, set in a futuristic Solar System, that features a protagonist modeled on Arsène Lupin, the gentleman thief of Maurice Leblanc. The novel was nominated for the 2011 Locus Award for Best First Novel, and was second runner-up for the 2011 Campbell Memorial Award. == Setting == Several centuries after the technological singularity largely destroyed Earth, various posthuman factions compete for dominance in the Solar System. Though sentient superintelligent AGI has never been successfully developed, civilization has been greatly transformed by the proliferation of Hansonian brain emulations (termed "gogols" in reference to Nikolai Gogol, and in particular his novel Dead Souls). An alliance of powerful gogol copies rule the inner system from computronium megastructures housing trillions of virtual minds, laboring to resurrect the dead in religious devotion to the philosophy of Nikolai Fedorov. This alliance, the Sobornost, has been in conflict with a community of quantum entangled minds who adhere to the "no-cloning" principle of quantum information theory, and so do not see the Sobornost's ultimate goal as resurrection, but death. Most of this community, the Zoku, was devastated when Jupiter was destroyed with a weaponized gravitational singularity. Among the last remnants of near-baseline humanity exist on the mobile cities of Mars, where advanced cryptography and an obsessive privacy culture ensure that the Sobornost cannot upload their citizens' minds. The most notable of these cities is the Oubliette, where time is used as a currency. When a citizen's balance reaches zero their mind is transferred to a robotic body to serve the needs of the city for a set period, before being returned to their original body with a restored balance of time. == Plot summary == Countless gogols of the legendary gentleman thief Jean Le Flambeur are trapped in a virtual Sobornost prison in orbit around Neptune, playing an iterated prisoner's dilemma until his mind learns to cooperate. A warrior from the Oort Cloud, which has been settled by Finnish colonists, successfully retrieves one of the Le Flambeur gogols and uploads it into a real-space body. Acting on behalf of a competing Sobornost authority, this Oortian, Mieli, ferries the thief to the Martian city known as The Oubliette, where he has stored his memories for later recovery. The two intend to recover his memories so that he may return to an operating capacity sufficient to serve his Sobornost benefactor in a theft and repay his liberation. On the Oubliette, the young detective Isidore Beautrelet helps vigilantes catch Sobornost agents illicitly uploading human minds. These vigilantes are revealed to be in the service of a local colony of Zoku. Beautrelet is employed to investigate the arrival of Le Flambeur, and in the process becomes aware that the Oubliette's cryptographic security was always compromised. The memories of its citizens are fabrications, and the "King of Mars" long believed ousted in a revolution, still reigns behind the scenes. This King, who is another copy of Jean Le Flambeur, is defeated in the ensuing conflict. Le Flambeur fails to recover all of his memories, which he had locked with a quantum entangled revolver that required him to kill several of his old friends to open his stored memory. He and Mieli escape a liberated Mars having recovered only a mysterious "Schrödinger’s Box" from the Memory Palace. == Themes == Themes central to The Quantum Thief are the unreliability and malleability of memory and the effects of extreme longevity on an individual's perspective and personality. Prisons, surveillance and control in society are also major themes. In the book, the people living in the Oubliette society on Mars have two types of memory; in addition to a traditional, personal memory, there is the exomemory, which can be accessed by other people, from anywhere in the city. Memories about personal experiences can be stored in the exomemory and partitioned, with different levels of access granted to different people. These memories can be used, among other things, as an expedient form of communication. The Oubliette society has an economy where time is used as currency. When an individual's time is expended, their consciousness is uploaded into a "Quiet". The Quiet are mute machine servants who maintain and protect the city. Although the quiet seem to have little interest in the world outside their occupations, they do seem to retain some traces of their former personalities and memories. The conspiracy central to the plot involves the hidden rulers, called the "cryptarchs", manipulating and abusing the exomemory and through the citizens' transformations to quiet and back, the traditional memory as well. In the book, the Oubliette society is compared to a panopticon; a prison, where every action of the dwellers can be scrutinized. == History and influences == The first chapter of The Quantum Thief was presented by Rajaniemi's literary agent, John Jarrold, to Gollancz as the basis for the three-book deal that was eventually secured. Rajaniemi has stated that he had "come up with an outline that had every single idea I could cram into it, because I wanted to be worthy of what had happened." The outline eventually expanded into three parts, and the first part became The Quantum Thief. The novel's plot was inspired by one of Rajaniemi's favorite characters in fiction, Maurice Leblanc's gentleman thief Arsène Lupin, who operates on both sides of the law. What intrigued Rajaniemi were the cycles of redemption and relapse Lupin goes through as he tries to go straight, always falling short. Besides LeBlanc, Rajaniemi mentioned Roger Zelazny as a strong influence. Ian McDonald was the other science fiction author he mentioned as influential, plus Frances A.Yates's book The Art of Memory, for memory palaces. In an interview, Rajaniemi said he wasn't trying to write the novel as hard science fiction: "For me, the more important consequence of having a scientific background is a degree of speculative rigour: trying hard to work out the consequences of the assumptions one begins with." == Reception == The novel has received generally positive reviews. Gary K. Wolfe writes in his Locus review that Rajaniemi has "spectacularly delivered on the promise that this is likely the most important debut SF novel we'll see this year". James Lovegrove, reviewing the book in his Financial Times column, notes that "many an anglophone author would kill to turn out prose half as good as this, especially on their maiden effort." Eric Brown, reviewing for The Guardian, finds the novel to be "a brilliant debut", while alluding to the "apocryphal" (and incorrect) myth that "this novel sold on the strength of its first line." Sam Bandah, at SciFiNow, praises the novel for "its engaging narrative and characters backed by often almost intimidatingly good sci-fi concepts." Criticism for the novel has generally centred on Rajaniemi's sparse "show, don't tell" writing style. Brown notes that "the author makes no concessions to the lazy reader with info-dumps or convenient explanations." Niall Alexander, of the Speculative Scotsman, states that "had there been some sort of index, [he] would have gladly (and repeatedly) referred to it during the mind-boggling first third of The Quantum Thief", while proclaiming the novel to be "the sci-fi debut of 2010." == Awards == Nominee for the 2011 Locus Award for Best First Novel. Third place for the 2011 John W. Campbell Memorial Award for Best Science Fiction Novel

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  • Felix, Net i Nika

    Felix, Net i Nika

    Felix, Net i Nika ("Felix, Net and Nika") is a series of Polish language science fiction books for teenagers, written by Rafał Kosik. It tells the adventures of three friends - Felix Polon, Net Bielecki and Nika Mickiewicz - who attend fictional Professor Kuszmiński Middle School in Warsaw. As of 2024, eighteen books have been published. == Books == There are currently 18 books in the series: Felix, Net and Nika and the Gang of Invisible People - November 2004. Felix, Net and Nika and the Theoretically Possible Catastrophe - November 2005 Felix, Net and Nika and the Palace of Dreams - November 2006 Felix, Net and Nika and the Trap of Immortality - November 2007 Felix, Net and Nika and the Orbital Conspiracy - November 2008 Felix, Net and Nika and the Orbital Conspiracy 2: Small Army - May 2009 Felix, Net and Nika and the Third Cousin - November 2009 Felix, Net and Nika and the Rebellion of Machines - March 2011 Felix, Net and Nika and the World Zero - November 2011 Felix, Net and Nika and the World Zero 2. Alternauts - November 2012 Felix, Net and Nika and the Extracurricular Stories - April 2013 Felix, Net and Nika and the Secret of Czerwona Hańcza - November 2013 Felix, Net and Nika and Curse of McKillian's House - November 2014 Felix, Net and Nika and (un)Safe Growing up - November 2015 Felix, Net and Nika and The End of The World as We Know It - November 2018 Felix, Net and Nika and No Chance - November 2022 Felix, Net and Nika and No Chance 2: other tomorrrow - 2023 Felix, Net and Nika and Fantology - June 2024 == Film == A feature motion picture, Felix, Net i Nika oraz Teoretycznie Możliwa Katastrofa (Felix, Net and Nika and the Theoretically Possible Catastrophe) was released in Poland on September 28, 2012. == Main characters == Felix Polon - a foresighted, fair-haired boy with dark brown eyes. He inherited the talent of constructing various things, especially robots, from his father- it saved his friends many times. He can make anything from nothing, always finds a way out of a situation; almost always has a plan. Together with his parents Marlene and Peter, grandmother Lucy, his dog Caban (a Black Russian Terrier) and Golem Golem a robot he built, Felix lives on Serdeczna Street in a small family house. Net Bielecki is quite tall & slim, has blue eyes and a high IQ level. "Net" is his nickname; his true name is unknown. He is the most trendy and 'awesome' in his entire class. He is a human calculator and is excellent in mathematics. He hates dictations and spelling because he is dyslexic. He is also quite lazy, absent-minded and sometimes hysterical, or panicking. His dark blond hair looks like a heap of hay after a grenade explosion. He is best in ICT and writes many of his own programs. His love interest is Nika Mickiewicz. Together with his parents Lila and Mark, and their newborn twins nicknamed Pompek and Prumcia he lives on the top floor of a Penthouse apartment. Nika Mickiewicz is a girl with a character. She is very brave and mature. She likes reading books. She has curly, red hair, green eyes and a few freckles. She is not very rich; she wears second-hand clothes and her only pair of black Dr. Martens shoes. She lives in a tiny apartment. She is an orphan, but hides that fact from people for almost 3 years. However, Felix and Net, her best and possibly only friends, find out about it. She also has abnormal abilities. She can move distant objects using her powers, ski uphill and knows some things by intuition. In other words, she is telekinetic. Manfred is a friendly AI program started and never finished by Net's father, and mastered and programmed further by Net himself. He likes going on adventures and solving mysteries with the trio much more than his actual job, which is controlling the traffic lights. He helped out the three friends many times and is their reliable and faithful friend. Morten is also an AI program, but he is the antagonist of the trio. He appears in all 6 books of Felix Net and Nika. In the first book, the trio thinks they finished him off for good, but as we find out later, he comes back in the third book. In the fifth/sixth book, he was the mastermind of the Orbital Conspiracy. Also, Morten's logo, appears in all 6 books and it is still a mystery what he has to do with each event.

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  • Age Of

    Age Of

    Age Of is the eighth studio album by American electronic producer Oneohtrix Point Never, released on June 1, 2018, on Warp Records. Recorded over two years, it is the first Oneohtrix Point Never album to prominently feature Daniel Lopatin's own vocals. The album was accompanied by the MYRIAD tour, which premiered as a "conceptual concertscape" in 2018 at the Park Avenue Armory and ended its run in 2019. It features contributions from James Blake (who additionally produced and mixed the album), Anohni, Prurient, Kelsey Lu and Eli Keszler. The artwork, which employs Jim Shaw's "The Great Whatsit" as a central image, was designed by David Rudnick. While not entering the official United States Billboard 200 chart, it peaked at number 59 on the magazine's Top Current Albums chart. == Background == Lopatin produced Age Of in parts of a two-year period, during which he was also producing for other artists, including Anohni, FKA Twigs, Iggy Pop, and David Byrne. After composing the soundtrack for the Safdie Brothers' 2017 film Good Time, Lopatin moved to an Airbnb lodge in South Central Massachusetts, derived from his aspiration to live out the modern cliche of musicians moving to the woods to record albums; the eerie atmosphere in the lodge at nighttime influenced his desire to make "weird, little nightmare ballads". In addition to Lopatin's own singing, the album also features vocal performances from Anohni and Prurient, while instrumentalists Kelsey Lu and Eli Keszler contribute to several tracks. When the record was nearly finished, Lopatin reached out to musician James Blake to contribute to the mixing process, eventually traveling to Los Angeles to complete the album. The track "The Station" was originally composed as a demo for R&B singer Usher which was ultimately not used. On July 9, 2018, Lopatin released the original topline (vocal melody) demo for The Station through Sendspace. The track "Toys 2" imagines a theoretical sequel to the 1992 film Toys where actor Robin Williams' image has been recreated with CGI (as his will specifically forbade any usage of his image after his death), and pokes fun at the common electronic music trope of composing a soundtrack to a theoretical film (which Lopatin described as "horribly cliché"). == Concept and MYRIAD == Influences on Age Of included Stanley Kubrick's 1968 film 2001: A Space Odyssey, which inspired the narrative of the album's accompanying performance installation and tour MYRIAD, as well as William Strauss's The Fourth Turning, a favorite book of former White House Chief Strategist Steve Bannon, which Lopatin described as "insidious, like the voice of a computer insisting on the truth about history without any sensitivity given to how complex and non-linear systems might be"; Lopatin was subsequently inspired to "[use] that sort of taxonomy as a kind of farce to then create these little frameworks for understanding". Other inspirations included the writings of the 1990s multidisciplinary collective Cybernetic Culture Research Unit and the works of singer-songwriters such as Bruce Cockburn, Bob Dylan, and Paul Simon. Around the time Lopatin began finalizing Age Of in his Airbnb lodge, he began working on the concept for MYRIAD, a conceptual concert performance which premiered at Park Avenue Armory. He described the concept as a four-part "epochal song cycle" showcasing the idiocy of previous generations of living organisms. The loose story concerns a group of artificial intelligences near the end of time named a "Limitless Living Informational Intelligence" (represented in the MYRIAD logo as nine squares) which, for leisurely purposes, attempt to replicate the cultures and behaviors of the previously existent human species. It does this by determining an "average" of human experiences through the species' "recorded output", and does so through imperfect, heuristic techniques. The show was consequently divided into four sections, each representing an epoch of the cycle concept loosely inspired by the Strauss–Howe generational theory: the Age of Ecco, the Age of Harvest, the Age of Excess, and the Age of Bondage. Ecco is "a phase of pre-evolutionary ignorance", Harvest is "living in agrarian harmony with the world", Excess is "the age of unchecked industrial ambition", and Bondage is "an era of engorgement, wherein "we keep making more and more shit until there's no space left." MYRIAD mainly featured "three-hundred pound sculptures that hang from the ceiling like kebabs that secrete ooze", and a full ensemble that toured to perform songs from Age Of, including Eli Keszler, Kelly Moran and Aaron David Ross. The sculptures, as well as the visuals displayed on five polygon panels, were created by frequent Oneohtrix Point Never collaborator Nate Boyce. Initially, Lopatin planned for each of the album's four epoches to be represented by fragrances, the more noisy epochs being pleasant to the nose to make a "weird dissonance". However, due to lack of time and resources, that part of the plan was scrapped. == Composition == Whereas previous Oneohtrix Point Never albums followed musical styles from only distinctive eras, Age Of is the first album by Lopatin to incorporate elements of unique genres from a variety of periods, hence the "incompleteness" of its title according to reviewer Heather Phares, and his first pop-song-oriented release since his work for Ford & Lopatin. The sound palettes it uses are those from a variety of styles such as chamber pop, "android"-like folk and country music, yacht rock, smooth jazz, R&B, Future-style soul, black metal, new age, and stadium pop, as well as post-industrial sounds on tracks like "Warning", "We'll Take It" and "Same", and, in particular, baroque music and medieval music on the opening title track, "Age Of". Critics also noted elements of Lopatin's past discography being present on Age Of. The instrumentation of Age Of is made up of MIDI harpsichords, guitars, pianos, brass and vocals, as well as Lopatin's trademark unorthodox sound design, samples and synth presets. The LP's use of the harpsichord shows its similarities "with Eastern instruments such as the koto and with rapid-fire electronic melodies", wrote Phares. == Critical reception == Age Of was critically well-received upon its distribution. Some reviewers praised the album's use of collaborators. Reviewing the album for AllMusic, Heather Phares called Age Of a "landmark work" for Lopatin. She praised it as his "widest-ranging" release, elaborating that he "matches the album's ambition with plenty of emotion" and "gives his music exciting new shapes." Ross Devlin of The Skinny, in a five-star review of the record, also highlighted the album's amount of ambition, particularly the "wealth of exquisitely baroque moments, exploring history as a pliable, multi-dimensional rift", that gave it "exceptional sonic depth". The Observer praised Age Of for continuing the "off-kilter composition and unexpected instrumentation" of Lopatin's previous releases, and critic Matt McDermott highlighted that the producer increased his musical range with the record: "It's a dizzying trip meant to shore up Lopatin's status as an avant-garde auteur while aiding his forays into mainstream pop culture." Age Of was ranked the 15th best release of the year in The Wire magazine's annual critics' poll. == Track listing == Notes "Myriad Industries" is stylized as "myriad.industries". Sample credits "Age Of" contains a sample of "Blow the Wind" by Jocelyn Pook. "Manifold" contains a sample from "Overture (Ararat the Border Crossing)" by Tayfun Erdem; and a sample from "Venice Beach in Winter" (listed in the liner notes as "a keyboard sample from Reharmonization") by Julian Bradley. "Myriad Industries" contains a sample of "EchoSpace" by Gil Trythall. == Accolades == == Personnel == Daniel Lopatin – production, lead vocals, album art, design James Blake – additional production, mixing, keyboards Gabriel Schuman, Joshua Smith and Evan Sutton – assistance Greg Calbi – mastering David Rudnick – album art, design Prurient – vocals Kelsey Lu – keyboards Anohni – vocals Eli Keszler – drums Shaun Trujillo – words == Charts ==

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  • Cyclodisparity

    Cyclodisparity

    In vision science, cyclodisparity is the difference in the rotation angle of an object or scene viewed by the left and right eyes. Cyclodisparity can result from the eyes' torsional rotation (cyclorotation) or can be created artificially by presenting to the eyes two images that need to be rotated relative to each other for binocular fusion to take place. == Human and animal vision == The eyes and visual system can compensate for cyclodisparity up to a certain point; if the cyclodisparity is larger than a threshold, the images cannot be fused, resulting stereoblindness, and in double vision in subjects who otherwise have full stereo vision. When a human subject is presented with images that have artificial cyclodisparity, cyclovergence is evoked, that is, a motor response of the eye muscles that rotates the two eyes in opposite directions, thereby reducing cyclodisparity. Visually-induced cyclovergence of up to 8 degrees has been observed in normal subjects. Furthermore, up to about 8 degrees can usually be compensated by purely sensory means, that is, without physical eye rotation. This means that the normal human observer can achieve binocular image fusion in presence of cyclodisparity of up to approximately 16 degrees. Cyclodisparity due to images having been rotated inward can be compensated better when the gaze is directed downwards, and cyclodisparity due to an outward rotation can be compensated better when the gaze is directed upwards. A proposed explanation for this phenomenon is that the motor system is coordinated in such a way that the eyes perform a torsional movement to reduce the size of the search zones and thus the computational load required for solving the correspondence problem. The resulting cyclovergence at near gaze is smaller than the cyclovergence predicted by Listing's law. == Video processing and computer vision == Active camera torsion can be used in machine and computer vision for several purposes. For instance, camera torsion can be used to make improved use of the search range over which matching detectors or stereo matching algorithms operate, or to make a 3D slanted surface appear frontoparallel for further stereo processing. For image compression purposes, images with cyclodisparity are advantageously encoded using global motion compensation using a rotational motion model.

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  • Cruel World of Dreams and Fears

    Cruel World of Dreams and Fears

    Cruel World of Dreams and Fears is the debut album from Ukrainian-born Czech black metal artist Draugveil, released independently on 13 June 2025. The album became notable among metal fans due to its cover, featuring Draugveil in a suit of armour and corpse paint, and lying in a field of red roses. The cover was the subject of parodying internet memes, as well as accusations of using artificial intelligence (AI) to make it. These claims were later expanded to suggest that AI was used to make the album's music. == Memes and AI accusations == Upon the album being released on YouTube on the channel Black Metal Promotion, the album attracted attention due to its cover, depicting Draugveil lying in a field of roses, dressed in armour, wearing corpse paint and having a sword stuck in the ground. Some compared it to covers where other artists are lying on the ground, such as Michael Jackson's Thriller, Luther Vandross's Give Me the Reason, and the UK cover of Lionel Richie's You Are. Critics of the album, however, suggested that AI was used to make the cover. This was partly due to suggestions that the rose stems in the picture come out from the ground in an unrealistic way. This later resulted in claims from some fans that AI was also used to produce the music, and later the lyrics and vocals. These claims began on a Facebook page entitled "AI Generated Nonsense", which was later deleted. No definitive evidence, however, was produced to back these claims. Derek McArthur, a journalist for Glasgow-based newspaper The Herald, wrote: "The music is in line with what one would expect from a one-man black metal project in the vein of Judas Iscariot and Burzum, but then if AI was asked to create music in a black metal style, that is probably what it would decide to generically produce and spit out." Draugveil's reaction to the claims was: "Let people decide." The result of the claims of AI has led to some writers to claim that artists in the future will have to prove they are human to be taken seriously, and that members of the public will be increasing doubt as to whether creative works are produced by either humans or AI. == Track listing ==

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  • Digital fashion

    Digital fashion

    Digital fashion is a field of fashion design that relies on 3D software or artificial intelligence to produce hyper-realistic, data-intensive digital 3D garment simulations that are digital-only products or digital models for physical products. Digital garments can be worn and presented in virtual environments, social media, online gaming, virtual reality (VR), and augmented reality (AR) platforms. The field aims to contribute to the development of a more sustainable future for the fashion industry. It has been praised as a possible answer to ethical and creative concerns of traditional fashion by promoting innovation, reducing waste, and encouraging conscious consumption. However, empirical research has questioned whether digital fashion communities embody the radical and anti-consumerist values they claim. A 2025 study presented by YeSeung Lee at the FACTUM international conference on fashion communication analysed 88,141 posts across nine platforms over eight months using Pulsar. It found that only 4.8% of author biographies indicated any sociopolitical focus, and that discourse predominantly relied on generic slogans and trending buzzwords, primarily reinforcing existing fashion hierarchies and consumerist frameworks rather than challenging them. Digital fashion is also the interplay between digital technology and couture. Human AI is an intersection of technology and human representation, in which human value is emphasized and enhanced by technology and the possibilities of discovering design. Information and communication technologies (ICTs) have been deeply integrated both into the fashion industry, as well as within the experience of clients and prospects. Such interplay has happened at three main levels. ICTs are used to design and produce fashion products, while the industry organization also leverages digital technologies. ICTs impact marketing, distribution and sales. ICTs are extensively used in communication activities with all relevant stakeholders and contribute to co-create the fashion world. The fashion industry in general has paved the way for digital fashion to be introduced with more technology being in the industry, like virtual dressing rooms and the gamification of the fashion industry. Digital fashion is also seen on many different online fashion retail websites. This evolution in the fashion industry has called for more education and research of digital fashion. == Design, production, and organization == Among the many applications available to fashion designers to model the fusion of creativity with digital avenues, the Digital Textile Printing can be mentioned here. === Digital textile printing === Digital textile printing has brought together the worlds of fashion, technology, art, chemistry, and printing to produce a new process for printing textiles on clothing. Digital printing is a process in which prints are directly applied to fabrics with a printer, reducing 95% of the use of water, 75% of the use of energy and minimizing textile waste. The main advantage of digital printing is the ability to do very small runs of each design (even less than 1 yard). Digital Textile printing also offers other benefits, such as fast printing speeds that help the time and space needed to print different patterns on garments of choice. == Marketing, distribution, and sales == While all digital channels can be used in order to market and sell fashion completely online (eCommerce), they usually are implemented in connection with offline channels (so-called "omni-channel"). Here, virtual and augmented reality play a crucial role. The fashion industry has faced its own problems including pollution and fabric waste, which has resulted in a shift to more sustainable methods like digital fashion. The industry is also constantly being intertwined with digital media and has allowed for the use of digital tools within the business itself and with consumers. Two of the ways digital fashion is utilized with consumers is through virtual dressing rooms and virtual cosmetic counters. Prospects and clients can use ICTs - own computers, tablets and smartphones - to virtually simulate fitting rooms and cosmetics counters and see how they look in specific outfits and makeup. Customers can give any look and decide on what suits them and buy products. Oftentimes, beauty retailers will feature virtual fitting rooms to allow users to experience the look of their product before committing to a purchase. Some examples are color contact retailers Freshlook, which allows users to simulate contact lens wear in their color contacts studio before purchase. Colorful Eyes also offers a virtual color contact lens try-on room. === Virtual dressing room === A virtual dressing room (also often referred to as virtual fitting room and virtual changing room although they do perform different functions) is the online equivalent of the near-ubiquitous in-store changing room – that is, it enables shoppers to try on clothes to check one or more of size, fit or style, but virtually rather than physically. Fashion retailer Topshop installed a Kinect-powered virtual fitting room at its Moscow store. Created by AR Door, the Augmented Fitting Room system overlays 3D augmented reality clothes on the customer. Simple gestures and on-screen buttons let users "try on" different outfits. However, the high variability of virtual fit platforms to predict consumer clothes sizes called into question the accuracy of these systems in their current form. AI-powered Wardrobe and Outfit Planning Beyond virtual fitting rooms, the integration of artificial intelligence has enabled the rise of digital wardrobe management. These platforms use computer vision and machine learning to catalog a user’s physical or digital garments, providing automated outfit recommendations based on weather, occasion, and personal style trends. Fashion-tech startups utilize AI-driven garment simulation to help users plan outfits virtually, bridging the gap between digital-only fashion and physical wardrobe utility. This "smart closet" approach aims to reduce "wardrobe fatigue" and decrease unnecessary consumption by maximizing the use of existing items through digital visualization. === Communication and experience co-creation === Fashion is also a matter of socially negotiating what is "in" or "out", fashionable or not. In other words, fashion items do not only play on the economic market of physical goods but also - and sometimes even more importantly - on the semiotic market of the production of social tastes and customs. Thanks to social media, and to all services offered by the so-called web2.0, laypeople can contribute to co-create the fashion world, shaping tastes, customs, and fashion-related values. Social media, in general, has catapulted the impact fashion has on our everyday lives and values. Fashion has taken a central role in mass production and is constantly evolving due to the ever-lasting digital transformation. Social media has also helped evolve to a point where not only can brands reach consumers, but consumers can reach brands as well. TikTok for example started a trend in 2020 with #GucciModelChallenge. This creates a space where the brand is gaining awareness from their consumers in the ever-changing digital age. === Gamification === Gaming has played an important role in fostering digital aspects of the fashion world, first beginning with dress-up games that used avatars and allowed players to select garments. Nevertheless, it seems it will now move on to the real world and start using avatars of real people. Garments from luxurious brands have been copied and adapted into the aesthetics of games such as Animal Crossing: New Horizons and The Sims. As to the former, during COVID-19 lock-downs players recreated outfits from a variety of fashion brands, including Chanel, Gucci and Versace. It became a platform for users to showcase their costume designs. In April 2019, Moschino collaborated with simulation game The Sims in a capsule collection that featured signature Jeremy Scott garments. The collection was made available to shop and the campaign was set against the backdrop of a Sims-like atmosphere. Furthermore, in May 2019, Nike partnered up with Fortnite to include their iconic Jordan sneakers. In similar fashion, in May 2020, Marc Jacobs designed 6 of the brand's favorite looks for Nintendo's Animal Crossing: New Horizons in a partnership with Instagram user @AnimalCrossingFashionArchive. They were made available to download. Similarly, the other luxury brands mentioned, Louis Vuitton partnered with game League of Legends to create skins for characters within the game. Digital fashion in different video games allows users to express themselves beyond their avatars and combine the self-expression of fashion into the digital gaming realm. == Digital fashion education and research == Nowadays, the fashion industry needs experts in digital fashion, equipped with the above-ske

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