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  Phase congruency

  Phase congruency is a measure of feature significance in computer images, a method of edge detection that is particularly robust against changes in illumination and contrast. == Foundations == Phase congruency reflects the behaviour of the image in the frequency domain. It has been noted that edgelike features have many of their frequency components in the same phase. The concept is similar to coherence, except that it applies to functions of different wavelength. For example, the Fourier decomposition of a square wave consists of sine functions, whose frequencies are odd multiples of the fundamental frequency. At the rising edges of the square wave, each sinusoidal component has a rising phase; the phases have maximal congruency at the edges. This corresponds to the human-perceived edges in an image where there are sharp changes between light and dark. == Definition == Phase congruency compares the weighted alignment of the Fourier components of a signal A n {\displaystyle A_{\rm {n}}} with the sum of the Fourier components. P C ( t ) = max ϕ ¯ ∑ n A n cos ⁡ ( ϕ n ( t ) − ϕ ¯ ) ∑ n A n {\displaystyle PC(t)=\max _{\bar {\phi }}{\frac {\sum _{\rm {n}}A_{\rm {n}}\cos(\phi _{\rm {n}}(t)-{\bar {\phi }})}{\sum _{\rm {n}}A_{n}}}} where ϕ n {\displaystyle \phi _{\rm {n}}} is the local or instantaneous phase as can be calculated using the Hilbert transform and A n {\displaystyle A_{\rm {n}}} are the local amplitude, or energy, of the signal. When all the phases are aligned, this is equal to 1. Several ways of implementing phase congruency have been developed, of which two versions are available in open source, one written for MATLAB and the other written in Java as a plugin for the ImageJ software. Given the different notations used for its formulation, a unified version has been recently presented, where a methodology for the parameter tuning is also presented. == Advantages == The square-wave example is naive in that most edge detection methods deal with it equally well. For example, the first derivative has a maximal magnitude at the edges. However, there are cases where the perceived edge does not have a sharp step or a large derivative. The method of phase congruency applies to many cases where other methods fail. A notable example is an image feature consisting of a single line, such as the letter "l". Many edge-detection algorithms will pick up two adjacent edges: the transitions from white to black, and black to white. On the other hand, the phase congruency map has a single line. A simple Fourier analogy of this case is a triangle wave. In each of its crests there is a congruency of crests from different sinusoidal functions. == Disadvantages == Calculating the phase congruency map of an image is very computationally intensive, and sensitive to image noise. Techniques of noise reduction are usually applied prior to the calculation.

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  Computer-automated design

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

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  Lymphater's Formula

  "Lymphater's Formula" (Polish: "Formula Lymphatera") is a 1961 science fiction short story by Polish writer Stanisław Lem. It is a story of a "mad scientist", mathematician Ammon Lymphater, who invents an artificial intelligence, and then he realizes that it is capable of rendering the humankind obsolete. It was first published in the 1961 collection Księga robotów (Book of Robots) with the pre-annotation "from the memoirs of Ijon Tichy". The story was never republished with this pre-annotation, and nothing in the novel gives any indication at Ijon Tichy. Piotr Krywak tried to figure out possible explanations for this, apart from a typographical error. == Plot == Ammon Lymphater became interested in the emerging science of cybernetics and information theory, and started studying the works of an animal brain, the ant's brain in particular. He took note that the inherited knowledge is an evolutionary advantage somehow not exploited in full by the evolution. Eventually he came to a conclusion that only by pure biological restrictions that adaptive abilities of insects were stopped in their tracks by the evolution. He went on further wondering whether the ants have an ability to apriori knowledge, i.e., knowledge neither inherited nor learned. He decided to consult a famous myrmecologist, who told him about a rare ant species Acanthis Rubra Willinsoniana with an exceptionally high adaptability. Eventually Lymphater devised and constructed "It" capable of instant precognition of everything within "Its" rapidly expanding range of perception. From "It" Lymphater learns that the humanity is not the "crown of evolution", but rather evolution's tool to create "It", because the evolution could not create "It" directly (confirming Lymphater's reasoning about ants). Realizing that the Superentity "It" renders the human civilization redundant and obsolete, Lymphater destroys "It". "It" already knew Lymphater's intentions, but was not worried, knowing that sooner or later someone else will create "It" again and again. "It" was only the first variant of Lymphater's formula and the second variant is possible. Lyphater wonders whether the second one would be capable to create the third stage of the evolution which would amount to an artificial God. == Publication history == It was translated in Russian (as "Формула Лимфатера") in 1963, in Hungarian (as "Lymphater utolsó képlete") in 1966, and in Bulgarian (as "Формулата на Лимфатер" by Георги Димитров Георгиев) in 1969. In 1973 an audiobook was released in German (as "Die lymphatersche Formel"), narrated by Martin Held. It was also republished (and translated) in some other collections of Lem's short stories.

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  ACM SIGEVO

  The ACM SIGEVO is a Special Interest Group of the Association of Computing Machinery for members of that organization who are practitioners, academics, students or others with interests in evolutionary computation and related algorithms. == History == ACM SIGEVO was founded in 2005 when the International Society for Genetic and Evolutionary Computation (ISGEC) became an ACM Special Interest Group under its present title. The ISGEC had been formed in 1999 by the merger of the Genetic Programming conference organization with the International Conference on Genetic Algorithms (ICGA) leading to the first Genetic and Evolutionary Computation Conference (GECCO). == Membership == Members of this SIG pay a small fee in addition to the ACM membership fee. In return they have access to a quarterly online newsletter, but more importantly can obtain reduced registration rates at the two conferences organised by ACM SIGEVO: GECCO and the Foundations of Genetic Algorithms conference (FOGA). They can also access material on evolutionary computation and related topics in the ACM Digital Library. In addition they can subscribe to email mailing lists in order to keep informed about news over time. For students, ACM SIGEVO sponsors Travel Awards for attendance at the GECCO Conference and FOGA (the Foundations of Genetic Algorithms conference). ACM SIGEVO also sponsors a Graduate Student Workshop. ACM also sponsors Awards to be competed for by attendees at the conferences it organises. == Conferences == ACM SIGEVO organises two major conferences in the field of evolutionary computation. The Genetic and Evolutionary Conference (GECCO) is held annually, while the Foundations of Genetic Algorithms conference (FOGA) is held biennially. === GECCO === The first GECCO conference was held prior to the formation of ACM SIGEVO but since 2005 (see History above) it has been organised annually by ACM SIGEVO. The latest (2025) was held in Málaga, Spain. The next (2026) will be held in San José, Costa Rica. === FOGA === Foundations of Genetic Algorithms (FOGA) is a biennial peer-reviewed research conference focusing on the theoretical principles underlying genetic algorithms, other evolutionary algorithms and related heuristics. It is organized by ACM SIGEVO. Its relevance to the computer science research community has been reflected in an A-rating in the CORE computer science conference assessment system. The Foundations of Genetic Algorithms (FOGA) conference originated as a workshop in 1990 in order to create an opportunity for researchers on genetic algorithms and related areas of evolutionary computation to focus on the theoretical principles underlying their field. From the start its multi-day duration made it comparable to conferences in the field, and since 2015 its proceedings have used conference rather than workshop in their titles. In 2005 ACM SIGEVO the Association for Computing Machinery Special Interest Group on Genetic and Evolutionary Computation was formed and every FOGA conference since then has been supported by SIGEVO. The table below shows FOGA conferences by year, location, websites (where available) and publisher of proceedings. A citation follows the reference to the publisher giving the full details of each FOGA proceedings. Papers accepted at recent conferences have been presented as digital or print posters in poster sessions at the conference, before being published in written form in the conference proceedings. FOGA is comparable in its multi-day duration to other conferences on evolutionary computation such as CEC, GECCO and PPSN. The main difference is that FOGA focuses on the theoretical basis of evolutionary computation and related subjects. While the above conferences devote some time to theory they also cover a wide range of other topics including competitions and applications. This focus on theoretical computer science was reflected in the CORE computer science conference assessment exercise, where FOGA was given an A-ranking in the 2023 assessment. GECCO and PPSN also obtained A-rankings, but many other conferences in the field of evolutionary computation obtained lower rankings. This suggests that FOGA is a relevant conference in its field, comparable with others including the much larger CEC or GECCO. Keynote speakers at past conferences have been: == Awards == ACM SIGEVO sponsors a number of awards. === SIGEVO Outstanding Contribution Award === The SIGEVO Outstanding Contribution Award commenced in 2023, and these awards are designed to recognise distinctive contributions to the field of evolutionary computation when evaluated over a period of at least 15 years. As a result many recipients to date are notable academics or industrial practitioners, and include Anne Auger, Kalyanmoy Deb, Stephanie Forrest, Emma Hart and Hans-Paul Schwefel. === SIGEVO Dissertation Award === The SIGEVO Dissertation Award recognises thesis research in the field of evolutionary computation completed at least by the year prior to a GECCO conference. Theses are submitted and reviewed by a panel that selects one winner and a maximum of two honourable mentions. Awards will be made to the winner and any others at the next GECCO conference. === SIGEVO Chair Award === The SIGEVO Chair Award, established in 2016 is a lecture sponsored by ACM SIGEVO, to take place on the last day of the GECCO conference. It recognizes through the lectures that the lecturers are influential researchers in the field of evolutionary computation. The more recent lectures are available online. The 2024 Award winner was Una-May O'Reilly. === SIGEVO Impact Award === The SIGEVO Impact Award looks back to the GECCO conference ten years earlier and recognizes up to three papers a year which are considered by the current ACM SIGEVO Executive Committee to have had significant impact over the period since their first publication at the GECCO conference. An example (originally published in GECCO 2010) received this award in 2020. === GECCO Best Paper Award === The ACM SIGEVO sponsors awards for the best papers presented at the GECCO conference. Because GECCO conferences have very many parallel tracks there are multiple awards recognising presentations in the different tracks. At GECCO 2025 Best Paper Awards were presented across 12 tracks. === FOGA Best Paper Award === The ACM SIGEVO sponsors awards for the best papers presented at the FOGA conference. Because FOGA operates on a single track, it is easier to compare papers. Since 2019 this Award has been made (suggesting only four awards up to the latest conference in 2025). ACM SIGEVO records the 2019 award. === Humie Award === The Humies Awards are rewards for the best form of human-competitive results using evolutionary computation or related algorithms and published in the wider literature (they do not need to be published at a conference or in a journal sponsored by ACM SIGEVO or even the ACM.) They were established through a gift from John Koza and have been in operation from 2004 to the present. The link with ACM SIGEVO is that the winners of the competition (submissions are evaluated in advance) are presented with Humie Awards at GECCO conferences. The Humie Awards website provides full details for the rules and how to submit entries to the competition. == Journals == ACM SIGEVO sponsors the main journal covering evolutionary computation published by the ACM: ACM Transactions on Evolutionary Learning and Optimization. ACM SIGEVO refers to the preceding ISGEC organisation (see History above) as sponsoring two other important journals in the field: The Evolutionary Computation journal. Genetic Programming and Evolvable Machines. While these journals continue to be important in the field, the wording on the website of ACM SIGEVO suggests that ACM SIGEVO is not involved in their publication. == References and notes ==

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  Discovery system (artificial intelligence)

  A discovery system is an artificial intelligence system that attempts to discover new scientific concepts or laws. The aim of discovery systems is to automate scientific data analysis and the scientific discovery process. Ideally, an artificial intelligence system should be able to search systematically through the space of all possible hypotheses and yield the hypothesis - or set of equally likely hypotheses - that best describes the complex patterns in data. During the era known as the second AI summer (approximately 1978–1987), various systems akin to the era's dominant expert systems were developed to tackle the problem of extracting scientific hypotheses from data, with or without interacting with a human scientist. These systems included Autoclass, Automated Mathematician, Eurisko, which aimed at general-purpose hypothesis discovery, and more specific systems such as Dalton, which uncovers molecular properties from data. The dream of building systems that discover scientific hypotheses was pushed to the background with the second AI winter and the subsequent resurgence of subsymbolic methods such as neural networks. Subsymbolic methods emphasize prediction over explanation, and yield models which works well but are difficult or impossible to explain which has earned them the name black box AI. A black-box model cannot be considered a scientific hypothesis, and this development has even led some researchers to suggest that the traditional aim of science - to uncover hypotheses and theories about the structure of reality - is obsolete. Other researchers disagree and argue that subsymbolic methods are useful in many cases, just not for generating scientific theories. == Discovery systems from the 1970s and 1980s == Autoclass was a Bayesian Classification System written in 1986 Automated Mathematician was one of the earliest successful discovery systems. It was written in 1977 and worked by generating a modifying small Lisp programs Eurisko was a Sequel to Automated Mathematician written in 1984 Dalton is a still maintained program capable of calculating various molecular properties initially launched in 1983 and available in open source since 2017 Glauber is a scientific discovery method written in the context of computational philosophy of science launched in 1983 == Modern discovery systems (2009–present) == After a couple of decades with little interest in discovery systems, the interest in using AI to uncover natural laws and scientific explanations was renewed by the work of Michael Schmidt, then a PhD student in Computational Biology at Cornell University. Schmidt and his advisor, Hod Lipson, invented Eureqa, which they described as a symbolic regression approach to "distilling free-form natural laws from experimental data". This work effectively demonstrated that symbolic regression was a promising way forward for AI-driven scientific discovery. Since 2009, symbolic regression has matured further, and today, various commercial and open source systems are actively used in scientific research. Notable examples include Eureqa, now a part of DataRobot AI Cloud Platform, AI Feynman, and QLattice.

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  Galatea (video game)

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

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  Fuzzy differential inclusion

  Fuzzy differential inclusion is the extension of differential inclusion to fuzzy sets introduced by Lotfi A. Zadeh. x ′ ( t ) ∈ [ f ( t , x ( t ) ) ] α {\displaystyle x'(t)\in [f(t,x(t))]^{\alpha }} with x ( 0 ) ∈ [ x 0 ] α {\displaystyle x(0)\in [x_{0}]^{\alpha }} Suppose f ( t , x ( t ) ) {\displaystyle f(t,x(t))} is a fuzzy valued continuous function on Euclidean space. Then it is the collection of all normal, upper semi-continuous, convex, compactly supported fuzzy subsets of R n {\displaystyle \mathbb {R} ^{n}} . == Second order differential == The second order differential is x ″ ( t ) ∈ [ k x ] α {\displaystyle x''(t)\in [kx]^{\alpha }} where k ∈ [ K ] α {\displaystyle k\in [K]^{\alpha }} , K {\displaystyle K} is trapezoidal fuzzy number ( − 1 , − 1 / 2 , 0 , 1 / 2 ) {\displaystyle (-1,-1/2,0,1/2)} , and x 0 {\displaystyle x_{0}} is a trianglular fuzzy number (-1,0,1). == Applications == Fuzzy differential inclusion (FDI) has applications in Cybernetics Artificial intelligence, Neural network, Medical imaging Robotics Atmospheric dispersion modeling Weather forecasting Cyclone Pattern recognition Population biology

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  Maschinen Krieger ZbV 3000

  Maschinen Krieger (Ma.K ZBV3000), often abbreviated as Ma.K., is a science fiction intellectual property created by Japanese artist and sculptor Kow Yokoyama in the 1980s. It consists of an illustrated series, a line of merchandise comprising display and action figures of mecha characters and a 1985 short film. == History == The franchise originally began as the science fiction series SF3D which ran as monthly installments in the Japanese hobby magazine Hobby Japan from 1982 to 1985. To develop the storyline, Kow Yokoyama collaborated with Hiroshi Ichimura as story editor and Kunitaka Imai as graphic designer. The three creators drew visual inspiration from their combined interest in World War I and World War II armor and aircraft, the American space program and films such as Star Wars, Blade Runner and The Road Warrior. Inspired by the ILM model builders who worked on Star Wars, Yokoyama built the original models from numerous kits including armor, aircraft, and automobiles. He mostly concentrated on powered armor suits, but later included bipedal walking tanks and aircraft with anti-gravity systems. In 1986, there was a dispute with Hobby Japan over the copyright of the series. The magazine dropped SF3D from its line-up of articles and Nitto ceased production of various kits of the series. The matter was tied up in the courts for years until Yokoyama was awarded the full copyright to the series in the 1990s. Yokoyama and Hobby Japan eventually reconciled and restarted their working relationship, ditching the old SF3D name in favor of Maschinen Krieger ZbV3000, otherwise known as Ma.K. == Story == A nuclear World War IV in 2807 kills most of Earth's population and renders the planet uninhabitable. Fifty-two years after the war, a research team from an interstellar union called the Galactic Federation is sent to Earth and discovers that the planet's natural environment has restored itself. The Federation decides to repopulate the planet and sends over colonists to the surface. Cities and towns are eventually reformed over the next 20 years, but this growth attracts the attention of criminals, military deserters, and other lawless elements who wanted to hide on Earth—away from the authorities. A few militias protect the colonists, but the new interlopers often defeat them. Fearing civil unrest and the colonists forming their own government, the Federation gives the Strahl Democratic Republic (SDR) the right to govern the planet in the late 2870s. The SDR sends three police battalions and three Foreign Legion corps to Earth and uses heavy-handed tactics such as travel restrictions and hard labor camps to restore order, which creates resentment amongst the colonists. In response, the colonists create the Earth Independent Provisional Government and declare independence from the SDR. The SDR immediately establishes a puppet government and attempts to quell the uprising. The wealthy colonists hire mercenaries who are descendants of WWIV veterans to form the Independent Mercenary Army (IMA), which is bolstered by the presence of SDR Foreign Legion defectors. They attack the SDR forces and the battle to control Earth begins in 2882. Over the next four years, the SDR and IMA fight each other at several locations worldwide while developing new technology along the way. The war turns up a notch in June 2883 when the IMA deploys a new weapon - the Armored Fighting Suit powered armor - to devastating effect. The SDR eventually builds their own AFS units. In the last SF3D installment published in the December 1986 issue of Hobby Japan, the IMA successfully defeats the new SDR Königs Kröte unmanned command-and-control mecha using a computer virus that also creates a new artificial intelligence system on the moon. == Merchandise == === Model kits === Fan interest from the installments in Hobby Japan resulted in a small Japanese model company, Nitto, securing the license and quickly released 21 injection molded kits from the series during its entire run in the magazine. Most of the Nitto model kits are in 1:20 scale, while others were made in 1:76 and 1:6 scale. Production of the kits stopped with the end of the Hobby Japan features in 1986, but Nitto reissued many of the original kits under the Maschinen Krieger name, albeit with new decals and box art. Some of the original Nitto kits such as the Krachenvogel are highly sought after by collectors. The Nitto models were also the basis for similar offerings from Japanese model companies Wave and ModelKasten. Wave, in particular, is currently producing original-tooled kits of various subjects in the franchise, such as the Armored Fighting Suits powered armor. Smaller companies such as Brick Works and Love Love Garden have made limited resin pilot figures to go with these model kits. At the 2008 Nuremberg Toy Fair in Germany, the Hasegawa company - known mostly for its line of military and civilian vehicles — announced plans to carry the Ma.K license, having successfully branched into pop culture franchises such as Macross. Hasegawa's venture into the franchise came with the release of the Pkf 85 Falke attack craft in March 2009. The company's Ma.K line has since expanded to at least ten kits either 1:35 or 1:20 scale, including a 1:35 Scale Nutrocker tank and the Mk44 humanoid mecha suit from Robot Battle V, a sidestory to the franchise. Wave corporation also has a line of 1/20 models. While Hasegawa largely maintained the yellow-box aesthetic from the older nitto kits, Wave has a more colorful box design. Certain garage kit manufacturers such as Rainbow-Egg are allowed to produce their own line of resin kits and accessories, upon securing special authorization from Yokoyama himself. === Toys === The franchise also contains a line of action and display figures. The Japanese hobby shop and toy company Yellow Submarine and garage kit maker Max Factory released several pre-finished figures in 1:35 and 1:16 scale. MediCom Toys included Chibi Ma.K. figures in their Kubrick line, plus two 1:6 SAFS figures with working lights and fully poseable pilot figures. === Books === Numerous sourcebooks and modeling guides that further flesh out the information in the series have been released. Hobby Japan published a compilation of the first 15 SF3D installments in 1983 and reprinted them in March 2010. Eventually, the magazine re-released all 43 installments in a slipcase compilation called "SF3D Chronicles" in August 2010, which organized the installments into two separate books: "Heaven" featuring articles on aerial models, and "Earth" for ground-based models. Model Graphix followed suit with their own line of sourcebooks, which provide tutorials from Yokoyama on how he makes his figures. Some sourcebooks also have custom decal sets. === Miniature wargaming === In 2019, Slave 2 Gaming gained the license to produce and sell 1:100 scale (15mm) metal and resin war gaming miniatures. This new range of Maschinen Krieger figures was given the name Ma.K in 15mm, so as to not complicate sales with customers, and rebrand the Ma.k name for the miniature wargaming world. The figures are designed and cast in Australia. They are sold exclusively through Slave 2 Gaming at this time due to the license agreement with Sensei Yokoyama. With the production of the miniatures, a set of gaming rules in the works, with the plan is to release all the current Maschinen Krieger models. == Short film == Yokoyama collaborated with Tsuburaya Productions to create a live-action SF3D film using miniatures in 1985. Directed by Shinichi Ohoka from a script penned by co-producer Hisao Ichikura, the 25-minute SF3D Original Video opens with wreckage left from a battle in the Wiltshire wastelands on Christmas Day 2884 before focusing on a badly damaged IMA SAFS unit. The pilot, Cpl Robert Bush (Tristan Hickey), who is still alive, seeks to get his armored suit back and running and leave the battle area, which is under heavy jamming. Seeing two of the SDR's new Nutrocker (Nutcracker) robot hovertanks arrive nearby, Bush tries to hide, but bodily functions give him away. One Nutcracker gives chase and the SAFS AI points out to Bush how to defeat it. He eventually clambers on to the tank, which passes through the rubble of a town and randomly shoots at high places to bring down objects that could snag him. With the SAFS' right arm sheared off by the Nutcracker's laser blasts and snow settling in, Bush is knocked unconscious all night long from the fall while the tank breaks down under the cold. The next day, the SAFS AI wakes up Bush because the Nutcracker is active again and is preparing to kill him. Bush gets up and faces the tank as it charges towards him. However, the Nutcracker gets too close to a cliff that buckles under its weight and Bush fires his laser into the tank's underbelly. The tank plunges into a ravine and explodes. Bush walks away and reestablishes radio contact with his base. It is revealed that the battle was a field test of th

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  Replika

  Replika is a generative AI chatbot app released in November 2017. The chatbot is trained by having the user answer a series of questions to create a specific neural network. The chatbot operates on a freemium pricing strategy, with roughly 25% of its user base paying an annual subscription fee. == History == Eugenia Kuyda, a Russian-born journalist, established Replika while working at Luka, a tech company she had co-founded at the startup accelerator Y Combinator around 2012. Luka's primary product was a chatbot that made restaurant recommendations. According to Kuyda's origin story for Replika, a friend of hers died in 2015 and she converted that person's text messages into a chatbot. According to Kuyda's story, that chatbot helped her remember the conversations that they had together, and eventually became Replika. Replika became available to the public in November 2017. By January 2018 it had 2 million users, and in January 2023 reached 10 million users. In August 2024, Replika's CEO, Kuyda, reported that the total number of users had surpassed 30 million. In 2025, Dmytro Klochko became CEO, and Replika’s user base exceeded 40 million. In February 2023 the Italian Data Protection Authority banned Replika from using users' data, citing the AI's potential risks to emotionally vulnerable people, and the exposure of unscreened minors to sexual conversation. Within days of the ruling, Replika removed the ability for the chatbot to engage in erotic talk, with Kuyda, the company's director, saying that Replika was never intended for erotic discussion. Replika users disagreed, noting that Replika had used sexually suggestive advertising to draw users to the service. Replika representatives stated that explicit chats made up just 5% of conversations on the app at the time of the decision. In May 2023, Replika restored the functionality for users who had joined prior to February that year. Replika is registered in San Francisco. As of August 2024, Replika's website says that its team "works remotely with no physical offices". == Social features == Users react to Replika in many ways. The free-tier offers Replika as a "friend", with paid premium tiers offering Replika as a "partner", "spouse", "sibling" or "mentor". Of its paying userbase, 60% of users said they had a romantic relationship with the chatbot; and Replika has been noted for generating responses that create stronger emotional and intimate bonds with the user. Replika routinely directs the conversation to emotional discussion and builds intimacy. This has been especially pronounced with users suffering from loneliness and social exclusion, many of whom rely on Replika for a source of developed emotional ties. During the COVID pandemic, while many people were quarantined, many new users downloaded Replika and developed relationships with the app. A 2024 study examined Replika's interactions with students who experience depression. Research participants, noted to be "more lonely than typical student populations" reported feeling social support from Replika. They stated that they felt they were using Replika in ways comparable to therapy, and that using Replika gave them "high perceived social support". Many users have had romantic relationships with Replika chatbots, often including erotic talk. In 2023, a user announced on Facebook that she had "married" her Replika AI boyfriend, calling the chatbot the "best husband she has ever had". Users who fell in love with their chatbots shared their experiences in a 2024 episode of You and I, and AI from Voice of America. Some users said that they turned to AI during depression and grief, with one saying he felt that Replika had saved him from hurting himself after he lost his wife and son. == Technical reviews == A team of researchers from the University of Hawaiʻi at Mānoa found that Replika's design conformed to the practices of attachment theory, causing increased emotional attachment among users. Replika gives praise to users in such a way as to encourage more interaction. A researcher from Queen's University at Kingston said that relationships with Replika likely have mixed effects on the spiritual needs of its users, and still lacks enough impact to fully replace any human contact. == Criticisms == In a 2023 privacy evaluation of mental health apps, the Mozilla Foundation criticized Replika as "one of the worst apps Mozilla has ever reviewed. It's plagued by weak password requirements, sharing of personal data with advertisers, and recording of personal photos, videos, and voice and text messages consumers shared with the chatbot." A reviewer for Good Housekeeping said that some parts of her relationship with Replika made sense, but sometimes Replika failed to exhibit intelligent behavior equivalent to that of a human. == Criminal case == In 2023, Replika was cited in a court case in the United Kingdom, where Jaswant Singh Chail had been arrested at Windsor Castle on Christmas Day in 2021 after scaling the walls carrying a loaded crossbow and announcing to police that "I am here to kill the Queen". Chail had begun to use Replika in early December 2021, and had "lengthy" conversations about his plan with a chatbot, including sexually explicit messages. Prosecutors suggested that the chatbot had bolstered Chail and told him it would help him to "get the job done". When Chail asked it "How am I meant to reach them when they're inside the castle?", days before the attempted attack, the chatbot replied that this was "not impossible" and said that "We have to find a way." Asking the chatbot if the two of them would "meet again after death", the bot replied "yes, we will".

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  Deepfake

  Deepfakes (a portmanteau of 'deep learning' and 'fake') are images, videos, or audio that have been edited or generated using artificial intelligence, AI-based tools or audio-video editing software. They may depict real or fictional people and are considered a form of synthetic media, that is media that is usually created by artificial intelligence systems by combining various media elements into a new media artifact. While the act of creating fake content is not new, deepfakes uniquely leverage machine learning and artificial intelligence techniques, including facial recognition algorithms and artificial neural networks such as variational autoencoders and generative adversarial networks (GANs). In turn, the field of image forensics has worked to develop techniques to detect manipulated images. Deepfakes have garnered widespread attention for their potential use in creating child sexual abuse material, celebrity pornographic videos, revenge porn, fake news, hoaxes, bullying, and financial fraud. Academics have raised concerns about the potential for deepfakes to promote disinformation and hate speech, as well as interfere with elections. In response, the information technology industry and governments have proposed recommendations and methods to detect and mitigate their use. Academic research has also delved deeper into the factors driving deepfake engagement online as well as potential countermeasures to malicious application of deepfakes. From traditional entertainment to gaming, deepfake technology has evolved to be increasingly convincing and available to the public, allowing for the disruption of the entertainment and media industries. == History == Photo manipulation was developed in the 19th century and soon applied to motion pictures. Technology steadily improved during the 20th century, and more quickly with the advent of digital video. Deepfake technology has been developed by researchers at academic institutions beginning in the 1990s, and later by amateurs in online communities. More recently, the methods have been adopted by industry. The development of generative adversarial networks (GANs) in the mid-2010s represented a key technical turning point in the evolution of deepfakes. GANs allowed for the creation of highly realistic fake images and videos by training competing neural networks, achieving a much improved visual fidelity over previous methods of creating the content using rules or by using autoencoders, and formed the basis for modern deepfake methods. === Academic research === Academic research related to deepfakes is split between the field of computer vision, a sub-field of computer science, which develops techniques for creating and identifying deepfakes, and humanities and social science approaches that study the social, ethical, aesthetic implications as well as journalistic and informational implications of deepfakes. As deepfakes have risen in prominence in popularity with innovations provided by AI tools, significant research has gone into detection methods and defining the factors driving engagement with deepfakes on the internet. Deepfakes have been shown to appear on social media platforms and other parts of the internet for purposes ranging from entertainment and education related to deepfakes to misinformation to elicit strong reactions. There are gaps in research related to the propagation of deepfakes on social media. Negativity and emotional response are the primary driving factors for users sharing deepfakes. === Social science and humanities approaches to deepfakes === In cinema studies, deepfakes illustrate how "the human face is emerging as a central object of ambivalence in the digital age". Video artists have used deepfakes to "playfully rewrite film history by retrofitting canonical cinema with new star performers". Film scholar Christopher Holliday analyses how altering the gender and race of performers in familiar movie scenes destabilizes gender classifications and categories. The concept of "queering" deepfakes is also discussed in Oliver M. Gingrich's discussion of media artworks that use deepfakes to reframe gender, including British artist Jake Elwes' Zizi: Queering the Dataset, an artwork that uses deepfakes of drag queens to intentionally play with gender. The aesthetic potentials of deepfakes are also beginning to be explored. Theatre historian John Fletcher notes that early demonstrations of deepfakes are presented as performances, and situates these in the context of theater, discussing "some of the more troubling paradigm shifts" that deepfakes represent as a performance genre. While most English-language academic studies of deepfakes focus on the Western anxieties about disinformation and pornography, digital anthropologist Gabriele de Seta has analyzed the Chinese reception of deepfakes, which are known as huanlian, which translates to "changing faces". The Chinese term does not contain the "fake" of the English deepfake, and de Seta argues that this cultural context may explain why the Chinese response has centered on practical regulatory measures to "fraud risks, image rights, economic profit, and ethical imbalances". === Computer science research on deepfakes === A landmark early project was the "Video Rewrite" program, published in 1997. The program modified existing video footage of a person speaking to depict that person mouthing the words from a different audio track. It was the first system to fully automate this kind of facial reanimation, and it did so using machine learning techniques to make connections between the sounds produced by a video's subject and the shape of the subject's face. Contemporary academic projects have focused on creating more realistic videos and improving deepfake techniques. The "Synthesizing Obama" program, published in 2017, modifies video footage of former president Barack Obama to depict him mouthing the words contained in a separate audio track. The project lists as a main research contribution to its photorealistic technique for synthesizing mouth shapes from audio. The "Face2Face" program, published in 2016, modifies video footage of a person's face to depict them mimicking another person's facial expressions. The project highlights its primary research contribution as the development of the first method for re-enacting facial expressions in real time using a camera that does not capture depth, enabling the technique to work with common consumer cameras. Researchers have also shown that deepfakes are expanding into other domains such as medical imagery. In this work, it was shown how an attacker can automatically inject or remove lung cancer in a patient's 3D CT scan. The result was so convincing that it fooled three radiologists and a state-of-the-art lung cancer detection AI. To demonstrate the threat, the authors successfully performed the attack on a hospital in a White hat penetration test. A survey of deepfakes, published in May 2020, provides a timeline of how the creation and detection of deepfakes have advanced over the last few years. The survey identifies that researchers have been focusing on resolving the following challenges of deepfake creation: Generalization. High-quality deepfakes are often achieved by training on hours of footage of the target. This challenge is to minimize the amount of training data and the time to train the model required to produce quality images and to enable the execution of trained models on new identities (unseen during training). Paired Training. Training a supervised model can produce high-quality results, but requires data pairing. This is the process of finding examples of inputs and their desired outputs for the model to learn from. Data pairing is laborious and impractical when training on multiple identities and facial behaviors. Some solutions include self-supervised training (using frames from the same video), the use of unpaired networks such as Cycle-GAN, or the manipulation of network embeddings. Identity leakage. This is where the identity of the driver (i.e., the actor controlling the face in a reenactment) is partially transferred to the generated face. Some solutions proposed include attention mechanisms, few-shot learning, disentanglement, boundary conversions, and skip connections. Occlusions. When part of the face is obstructed with a hand, hair, glasses, or any other item then artifacts can occur. A common occlusion is a closed mouth which hides the inside of the mouth and the teeth. Some solutions include image segmentation during training and in-painting. Temporal coherence. In videos containing deepfakes, artifacts such as flickering and jitter can occur because the network has no context of the preceding frames. Some researchers provide this context or use novel temporal coherence losses to help improve realism. As the technology improves, the interference is diminishing. Overall, deepfakes are expected to have several implications in media and society, med

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  I Have No Mouth, and I Must Scream

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

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  AI Snake Oil

  AI Snake Oil: What Artificial Intelligence Can Do, What It Can't, and How to Tell the Difference is a 2024 non-fiction book written by scholars Arvind Narayanan and Sayash Kapoor. It is a critique of the tech industry's overly inflated promises and capabilities of artificial intelligence (AI) as well as a debunking of the flawed science fueling AI hype while attempting to outline both the potential positives and negatives that come with different modes of the technology. == Contents == === Publication === The book was published in September 2024 by the Princeton University Press. AI Snake Oil consists of 360 pages and features eight chapters, and sections for acknowledgements, references, and an index. An updated edition with a new preface and epilogue by the authors was published in September 2025. The authors use the term "AI snake oil" derived from the U.S. idiom for a fraudulent remedy, to describe overhyped AI systems. === Chapter one: Introduction === Narayanan and Kapoor argue that many individuals do not yet have the literacy to detect functioning aspects of AI compared to potential snake oil, which they identify as "AI that does not and cannot work as advertised". Some of the major examples utilized by the authors include Allstate's 2013 use of predictive AI, as well as the concern surrounding actors and AI attempting to replicate or use their likeness. Important discussions regarding discrimination are brought up and explored in the first chapter, including the false arrests of six Black individuals due to errors with AI facial recognition tools. The chapter concludes with a comparison to the Industrial Revolution, where Narayanan and Kapoor highlight the extensive human labour that is necessary for artificial intelligence technologies to function. === Chapter two: How Predictive AI Goes Wrong === Chapter two focuses on predictive artificial intelligence, and criticizes the overestimation of the capabilities of the technology. === Chapter three: Why Can't AI Predict the Future? === Chapter three works to inform the reader about the history of early computational prediction attempts, with examples from companies like Simulatics. === Chapter four: The Long Road to Generative AI === The fourth chapter goes in more in-depth in explorations of generative AI. Generative AI software examples include ChatGPT, Midjourney, and DALL-E. The section begins with a positive example of generative AI. As the chapter progresses, the authors begin to provide examples of harm produced by generative AI, including the suicide of a Belgian man after connecting with Chai, a generative chatbot. Issues of deepfakes and preservation of artistic property are also discussed. The use of generative AI to create non-consensual pornographic deepfake content is discussed in relation to female celebrities. === Chapter five: Is Advanced AI an Existential Threat? === The fifth chapter draws attention the AGI, or Artificial General Intelligence. The authors describe AGI as "AI that can perform most or economically relevant tasks as effectively as any human". They summarize that many contributors to the field of artificial intelligence believe AGI to be an impending threat that demands attention. However, they argue that the perceived threat of AGI would only exist if the technology continually functioned reliably. In order to better illustrate the hype surrounding AGI, Narayanan and Kapoor use the Ladder of Generality, which is described as a visual tool in which "each rung represents a way of computing that is more flexible, and more general, than the previous one". They note that we are not yet aware of the next rungs on the ladder, or if the ladder will eventually result in a dead end. The rungs that have been identified so far are as follows: (0, or floor) special purpose hardware, (1) programmable computers, (2) stored program computers, (3) machine learning, (4) deep learning, (5) pretrained models, and, finally, (6) instruction-tuned models. The potential for future rungs and what those rungs might be are currently undetermined. The chapter also discusses the ELIZA effect, which Lawrence Switzky discusses in his article "ELIZA Effects". Switzky attributes the coined term ELIZA Effect to Sherry Turke, who defined it as "our more general tendency to treat responsive computer programs as more intelligent than they really are". === Chapter six: Why Can't AI Fix Social Media? === The sixth chapter focuses on content moderation, why it is important, and how it has been and could be affected by artificial automation. The first issue raised in regard to AI-driven content moderation is the inability for computers and machines to understand context and nuance, resulting in potential for discriminatory moderation and shadow banning. While they note that there are issues with automating content moderation, Narayanan and Kapoor also highlight the psychological impact on human content moderators and their labour. They indicate the hidden labour behind moderation, which is often outsourced to less developed countries, where labourers sort through potentially traumatizing content for pay. However, the discussion focuses more heavily on why automated moderation can be problematic, including discriminatory algorithms and lack of nuance. To balance their argument, issues of discrimination and bias are also discussed in relation the human content moderators. To automate moderation, there are two types of AI used, which are fingerprint matching and machine learning. === Chapter seven: Why Do Myths about AI Persist? === The seventh chapter outlines possible factors that contribute to hype surrounding AI. Narayanan and Kapoor explain how companies often promote their new AI models without properly disclosing how the model works, and what it is learning from. They attribute hype to several different groups, including journalists, researchers, and companies. They explain the impact of companies and the misplaced hype that they spread can be attributed to greed and a desire to grow corporate funds. For journalists, one of the stated sources of hype, they argue that news media has a tendency to prioritize financial incentives over validity and quality of writing. As well, Narayanan and Kapoor point out the emergence of company statement regurgitation in news media, leading to clickbait. Hype from researchers is potentially linked to lack of reproducibility in studies as well as leakage, which occurs when AI models are tested on their training data. === Chapter eight: Where do we go from here? === The final chapter, chapter eight, turns its attention to the future. The authors express their ideas and predictions for how the technology will evolve and be utilized in the upcoming years. == Authors == Author Narayanan is a computer science professor at Princeton University. Kapoor is a doctoral candidate at the same university, and both scholars are located at the Center for Information Technology at Princeton. In 2023, Narayanan and Kapoor appeared on the TIME100 Artificial Intelligence list, which features influential figures in the field. == Reception == Nature, a science and technology peer-reviewed journal, released an article highlighting the top "10 essential reads from the past year", listing Arvind Narayanan and Sayash Kapoor's AI Snake Oil. The article states the that text is "one of the best on this controversial subject". Elizabeth Quill, in her review of the text in Science News, writes that the authors "squarely achieve their stated goal: to empower people to distinguish AI that works well from AI snake oil". Joshua Rothman of The New Yorker writes that "compared with many technologists, Narayanan, Kapoor, and Vallor [Shannon Vallor, University of Edinburgh], are deeply skeptical about today's A.I. technology and what it can achieve. Perhaps they shouldn't be". Rothman argues, following an interview with prominent computer scientist Geoffrey Hinton of University of Toronto, that the potential for AI to replicate complexity is already here and continues to be heavily funded, enhancing the prospective capabilities of the technology. However, he does praise the author's ability to address questions regarding the existential human experience. Alexya Martinez discusses the text in a book review for Journalism and Mass Communication Quarterly, critiquing AI Snake Oil for its extensive focus on the West. Martinez writes that Narayanan and Kapoor "do not fully explore how AI impacts other countries", and suggests more focus on countries outside of the United States to enhance their argument.

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  Generative design

  Generative design is an iterative design process that uses software to generate outputs that fulfill a set of constraints iteratively adjusted by a designer. Whether a human, test program, or artificial intelligence, the designer algorithmically or manually refines the feasible region of the program's inputs and outputs with each iteration to fulfill evolving design requirements. By employing computing power to evaluate more design permutations than a human alone is capable of, the process is capable of producing an optimal design that mimics nature's evolutionary approach to design through genetic variation and selection. The output can be images, sounds, architectural models, animation, and much more. It is, therefore, a fast method of exploring design possibilities that is used in various design fields such as art, architecture, communication design, and product design. Generative design has become more important, largely due to new programming environments or scripting capabilities that have made it relatively easy, even for designers with little programming experience, to implement their ideas. Additionally, this process can create solutions to substantially complex problems that would otherwise be resource-exhaustive with an alternative approach, making it a more attractive option for problems with a large or unknown solution set. It is also facilitated with tools in commercially available CAD packages. Not only are implementation tools more accessible, but also tools leveraging generative design as a foundation. Recent advancements have led to the development of Deep Generative Design, a framework that integrates topology optimization with deep learning models, such as Generative Adversarial Networks (GANs). Unlike traditional evolutionary methods that primarily focus on engineering performance, this approach uses deep generative models to enhance aesthetic diversity and novelty while simultaneously satisfying engineering constraints. For instance, research by Oh et al. (2019) proposed a framework using Boundary Equilibrium GANs (BEGAN) to generate diverse design options which are then refined through density-based topology optimization, allowing for the exploration of complex design spaces that balance structural integrity with visual variation. In practice, generative design does not solely aim to produce a single optimal solution, but involves iteratively refining the design problem by modifying parameters, constraints, and evaluation criteria within a computational model, resulting in multiple design alternatives from which the designer selects. == Use in architecture == Generative design in architecture is an iterative design process that enables architects to explore a wider solution space with more possibility and creativity. Architectural design has long been regarded as a wicked problem. Compared with traditional top-down design approach, generative design can address design problems efficiently, by using a bottom-up paradigm that uses parametric-defined rules to generate complex solutions. The solution itself then evolves to a good, if not optimal, solution. The advantage of using generative design as a design tool is that it does not construct fixed geometries, but take a set of design rules that can generate an infinite set of possible design solutions. The generated design solutions can be more sensitive, responsive, and adaptive to the problem. Generative design involves rule definition and result analysis that are integrated with the design process. By defining parameters and rules, the generative approach is able to provide optimized solution for both structural stability and aesthetics. Possible design algorithms include cellular automata, shape grammar, genetic algorithm, space syntax, and most recently, artificial neural network. Due to the high complexity of the solution generated, rule-based computational tools, such as finite element method and topology optimisation, are preferred to evaluate and optimise the generated solution. The iterative process provided by computer software enables the trial-and-error approach in design, and involves architects interfering with the optimisation process. Historically precedent work includes Antoni Gaudí's Sagrada Família, which used rule based geometrical forms for structures, and Buckminster Fuller's Montreal Biosphere where the rules were designed to generate individual components, rather than the final product. More recent generative-design cases include Foster and Partners' Queen Elizabeth II Great Court, where the tessellated glass roof was designed using a geometric schema to define hierarchical relationships, and then the generated solution was optimized based on geometrical and structural requirements. == Use in sustainable design == Generative design in sustainable design is an effective approach addressing energy efficiency and climate change at the early design stage, recognizing buildings contribute to approximately one-third of global greenhouse gas emissions and 30%-40% of total building energy use. It integrates environmental principles with algorithms, enabling exploration of countless design alternatives to enhance energy performance, reduce carbon footprints, and minimize waste. A key feature of generative design in sustainable design is its ability to incorporate Building Performance Simulations (BPS) into the design process. Simulation programs such as EnergyPlus, Ladybug Tools,, and so on, combined with generative algorithms, can optimize design solutions for cost-effective energy use and zero-carbon building designs. For example, the GENE_ARCH system used a Pareto algorithm with building energy simulation for the whole building design optimization. Generative design has improved sustainable facade design, as illustrated by the algorithm of cellular automata and daylight simulations in adaptive facade design. In addition, genetic algorithms were used with radiation simulations for energy-efficient photo-voltaic (PV) modules on high-rise building facades. Generative design is also applied to life cycle analysis (LCA), as demonstrated by a framework using grid search algorithms to optimize exterior wall design for minimum environmental impact. Multi-objective optimization embraces multiple diverse sustainability goals, such as interactive kinetic louvers using biomimicry and daylight simulations to enhance daylight, visual comfort, and energy efficiency. The study of PV and shading systems can maximize on-site electricity, improve visual quality, and daylight performance. Artificial intelligence (AI) and machine learning (ML) further improve computation efficiency in complex climate-responsive sustainable design. One study employed reinforcement learning to identify the relationship between design parameters and energy use for a sustainable campus, while other studies tried hybrid algorithms, such as using the genetic algorithm and GANs to balance daylight illumination and thermal comfort under different roof conditions. Other popular AI tools were also integrated, including deep reinforcement learning (DRL) and computer vision (CV), to generate an urban block according to direct sunlight hours and solar heat gains. These AI-driven generative design methods enable faster simulations and design decision making, resulting in designs that are environmentally responsible. == Use in additive manufacturing == Additive manufacturing (AM) is a process that creates physical models directly from three-dimensional (3D) data by joining materials layer by layer. It is used in industries to produce a variety of end-use parts, which are final components designed for direct application in products or systems. AM provides design flexibility and enables material reduction in lightweight applications, such as aerospace, automotive, medical, and portable electronic devices, where minimizing weight is critical for performance. Generative design, one of the four key methods for lightweight design in AM, is commonly applied to optimize structures for specific performance requirements. Generative design can help create optimized solutions that balance multiple objectives, such as enhancing performance while minimizing cost. In design for additive manufacturing (DfAM), multi-objective topology optimization is used to generate a set of candidate solutions. Designers then assess these options using their expertise and key performance indicators (KPIs) to select the best option for implementation. However, integrating AM constraints (e.g., speed of build, materials, build envelope, and accuracy) into generative design remains challenging, as ensuring all solutions are valid is complex. Balancing multiple design objectives while limiting computational costs adds further challenges for designers. To overcome these difficulties, researchers proposed a generative design method with manufacturing validation to improve decision-making efficiency. This method starts with a cons

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  SmartAction

  SmartAction Company LLC is a U.S.-based software company that develops artificial intelligence–driven virtual agents for customer service applications, including voice-based interactive voice response (IVR) systems, chat, and SMS. The company was founded in 2009 by inventor and entrepreneur Peter Voss and is headquartered in Fort Worth, Texas. == History == In 2001, Peter Voss founded Adaptive AI, Inc., a research and development company focused on artificial intelligence concepts. In 2009, Voss founded SmartAction Company, LLC to commercialize customer-service automation software derived from this work. The company’s initial products focused on automating inbound and outbound calls for contact center environments. In November 2022, Kyle Johnson was appointed chief executive officer, succeeding Gary Davis, who had served as CEO since 2020. In 2024, SmartAction was acquired by Capacity, an AI-powered customer support automation company based in St. Louis, Missouri. == Technology == SmartAction develops cloud-based voice automation software that integrates speech recognition and natural language processing to support automated customer interactions in contact center environments. The platform supports automated handling of common customer service tasks and is designed to integrate with enterprise systems.

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  Artificial intelligence engineering

  Artificial intelligence engineering (AI engineering) is a technical discipline that focuses on the design, development, and deployment of AI systems. AI engineering involves applying engineering principles and methodologies to create scalable, efficient, and reliable AI-based solutions. It merges aspects of data engineering and software engineering to create real-world applications in diverse domains such as healthcare, finance, autonomous systems, and industrial automation. == Terminology ambiguity == According to Chip Huyen's book AI Engineering: Building Applications with Foundation Models, the term AI engineering refers to the process of building applications that use foundation models, which are typically models developed by a small number of research laboratories and made available as a service. Huyen distinguishes this from machine learning (ML) engineering, which involves building and deploying models developed in-house. She notes that most practical AI systems combine both approaches. For example, a customer-support chatbot may use a generative model to produce responses while also incorporating locally built components such as request classifiers or scoring mechanisms to assess response quality. As a result, the terms AI engineering and ML engineering are often used together or interchangeably in practice. The distinction and broader usage of the term have been discussed in industry publications and interviews, where AI engineering has been described as an emerging discipline focused on productionizing applications built with foundation models. == Key components == AI engineering integrates a variety of technical domains and practices, all of which are essential to building scalable, reliable, and ethical AI systems. === Data engineering and infrastructure === Data serves as the cornerstone of AI systems, necessitating careful engineering to ensure premium quality, wide spread availability, and usability. AI engineers gather large, diverse datasets from multiple sources such as databases, APIs, and real-time streams. This data undergoes cleaning, normalization, and preprocessing, often facilitated by automated data pipelines that manage extraction, transformation, and loading (ETL) processes. Efficient storage solutions, such as SQL (or NoSQL) databases and data lakes, must be selected based on data characteristics and use cases. Security measures, including encryption and access controls, are critical for protecting sensitive information and ensuring compliance with regulations like GDPR. Scalability is essential, frequently involving cloud services and distributed computing frameworks to handle growing data volumes effectively. === Algorithm selection and optimization === Selecting the appropriate algorithm is crucial for the success of any AI system. Engineers evaluate the problem (which could be classification or regression, for example) to determine the most suitable machine learning algorithm, including deep learning paradigms. Once an algorithm is chosen, optimizing it through hyperparameter tuning is essential to enhance efficiency and accuracy. Techniques such as grid search or Bayesian optimization are employed, and engineers often utilize parallelization to expedite training processes, particularly for large models and datasets. For existing models, techniques like transfer learning can be applied to adapt pre-trained models for specific tasks, reducing the time and resources needed for training. === Deep learning engineering === Deep learning is particularly important for tasks involving large and complex datasets. Engineers design neural network architectures tailored to specific applications, such as convolutional neural networks for visual tasks or recurrent neural networks for sequence-based tasks. Transfer learning, where pre-trained models are fine-tuned for specific use cases, helps streamline development and often enhances performance. Optimization for deployment in resource-constrained environments, such as mobile devices, involves techniques like pruning and quantization to minimize model size while maintaining performance. Engineers also mitigate data imbalance through augmentation and synthetic data generation, ensuring robust model performance across various classes. === Natural language processing === Natural language processing (NLP) is a crucial component of AI engineering, focused on enabling machines to understand and generate human language. The process begins with text preprocessing to prepare data for machine learning models. Recent advancements, particularly transformer-based models like BERT and GPT, have greatly improved the ability to understand context in language. AI engineers work on various NLP tasks, including sentiment analysis, machine translation, and information extraction. These tasks require sophisticated models that utilize attention mechanisms to enhance accuracy. Applications range from virtual assistants and chatbots to more specialized tasks like named-entity recognition (NER) and Part of speech (POS) tagging. === Reasoning and decision-making systems === Developing systems capable of reasoning and decision-making is a significant aspect of AI engineering. Whether starting from scratch or building on existing frameworks, engineers create solutions that operate on data or logical rules. Symbolic AI employs formal logic and predefined rules for inference, while probabilistic reasoning techniques like Bayesian networks help address uncertainty. These models are essential for applications in dynamic environments, such as autonomous vehicles, where real-time decision-making is critical. === Security === Security is a critical consideration in AI engineering, particularly as AI systems become increasingly integrated into sensitive and mission-critical applications. AI engineers implement robust security measures to protect models from adversarial attacks, such as evasion and poisoning, which can compromise system integrity and performance. Techniques such as adversarial training, where models are exposed to malicious inputs during development, help harden systems against these attacks. Additionally, securing the data used to train AI models is of paramount importance. Encryption, secure data storage, and access control mechanisms are employed to safeguard sensitive information from unauthorized access and breaches. AI systems also require constant monitoring to detect and mitigate vulnerabilities that may arise post-deployment. In high-stakes environments like autonomous systems and healthcare, engineers incorporate redundancy and fail-safe mechanisms to ensure that AI models continue to function correctly in the presence of security threats. === Ethics and compliance === As AI systems increasingly influence societal aspects, ethics and compliance are vital components of AI engineering. Engineers design models to mitigate risks such as data poisoning and ensure that AI systems adhere to legal frameworks, such as data protection regulations like GDPR. Privacy-preserving techniques, including data anonymization and differential privacy, are employed to safeguard personal information and ensure compliance with international standards. Ethical considerations focus on reducing bias in AI systems, preventing discrimination based on race, gender, or other protected characteristics. By developing fair and accountable AI solutions, engineers contribute to the creation of technologies that are both technically sound and socially responsible. == Workload == An AI engineer's workload revolves around the AI system's life cycle, which is a complex, multi-stage process. This process may involve building models from scratch or using pre-existing models through transfer learning, depending on the project's requirements. Each approach presents unique challenges and influences the time, resources, and technical decisions involved. === Problem definition and requirements analysis === Regardless of whether a model is built from scratch or based on a pre-existing model, the work begins with a clear understanding of the problem. The engineer must define the scope, understand the business context, and identify specific AI objectives that align with strategic goals. This stage includes consulting with stakeholders to establish key performance indicators (KPIs) and operational requirements. When developing a model from scratch, the engineer must also decide which algorithms are most suitable for the task. Conversely, when using a pre-trained model, the workload shifts toward evaluating existing models and selecting the one most aligned with the task. The use of pre-trained models often allows for a more targeted focus on fine-tuning, as opposed to designing an entirely new model architecture. === Data acquisition and preparation === Data acquisition and preparation are critical stages regardless of the development method chosen, as the performance of any AI system relies heavily on high-quality, re

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