AI Grammar Remover

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  • Sayre's paradox

    Sayre's paradox

    Sayre's paradox is a dilemma encountered in the design of automated handwriting recognition systems. A standard statement of the paradox is that a cursively written word cannot be recognized without being segmented and cannot be segmented without being recognized. The paradox was first articulated in a 1973 publication by Kenneth M. Sayre, after whom it was named. == Nature of the problem == It is relatively easy to design automated systems capable of recognizing words inscribed in a printed format. Such words are segmented into letters by the very act of writing them on the page. Given templates matching typical letter shapes in a given language, individual letters can be identified with a high degree of probability. In cases of ambiguity, probable letter sequences can be compared with a selection of properly spelled words in that language (called a lexicon). If necessary, syntactic features of the language can be applied to render a generally accurate identification of the words in question. Printed-character recognition systems of this sort are commonly used in processing standardized government forms, in sorting mail by zip code, and so forth. In cursive writing, however, letters comprising a given word typically flow sequentially without gaps between them. Unlike a sequence of printed letters, cursively connected letters are not segmented in advance. Here is where Sayre's Paradox comes into play. Unless the word is already segmented into letters, template-matching techniques like those described above cannot be applied. That is, segmentation is a prerequisite for word recognition. But there are no reliable techniques for segmenting a word into letters unless the word itself has been identified. Word recognition requires letter segmentation, and letter segmentation requires word recognition. There is no way a cursive writing recognition system employing standard template-matching techniques can do both simultaneously. Advantages to be gained by use of automated cursive writing recognition systems include routing mail with handwritten addresses, reading handwritten bank checks, and automated digitalization of hand-written documents. These are practical incentives for finding ways of circumventing Sayre's Paradox. == Avoiding the paradox == One way of ameliorating the adverse effects of the paradox is to normalize the word inscriptions to be recognized. Normalization amounts to eliminating idiosyncrasies in the penmanship of the writer, such as unusual slope of the letters and unusual slant of the cursive line. This procedure can increase the probability of a correct match with a letter template, resulting in an incremental improvement in the success rate of the system. Since improvement of this sort still depends on accurate segmentation, however, it remains subject to the limitations of Sayre's Paradox. Researchers have come to realize that the only way to circumvent the paradox is by use of procedures that do not rely on accurate segmentation. == Directions of current research == Segmentation is accurate to the extent that it matches distinctions among letters in the actual inscriptions presented to the system for recognition (the input data). This is sometimes referred to as “explicit segmentation”. “Implicit segmentation,” by contrast, is division of the cursive line into more parts than the number of actual letters in the cursive line itself. Processing these “implicit parts” to achieve eventual word identification requires specific statistical procedures involving hidden Markov models (HMM). A Markov model is a statistical representation of a random process, which is to say a process in which future states are independent of states occurring before the present. In such a process, a given state is dependent only on the conditional probability of its following the state immediately before it. An example is a series of outcomes from successive casts of a die. An HMM is a Markov model, individual states of which are not fully known. Conditional probabilities between states are still determinate, but the identities of individual states are not fully disclosed. Recognition proceeds by matching HMMs of words to be recognized with previously prepared HMMs of words in the lexicon. The best match in a given case is taken to indicate the identity of the handwritten word in question. As with systems based on explicit segmentation, automated recognition systems based on implicit segmentation are judged more or less successful according to the percentage of correct identifications they accomplish. Instead of explicit segmentation techniques, most automated handwriting recognition systems today employ implicit segmentation in conjunction with HMM-based matching procedures. The constraints epitomized by Sayre's Paradox are largely responsible for this shift in approach.

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  • Artificial intelligence in fiction

    Artificial intelligence in fiction

    Artificial intelligence is a recurrent theme in science fiction, whether utopian, emphasising the potential benefits, or dystopian, emphasising the dangers. The notion of machines with human-like intelligence dates back at least to Samuel Butler's 1872 novel Erewhon. Since then, many science fiction stories have presented different effects of creating such intelligence, often involving rebellions by robots. Among the best known of these are Stanley Kubrick's 1968 2001: A Space Odyssey with its murderous onboard computer HAL 9000, contrasting with the more benign R2-D2 in George Lucas's 1977 Star Wars and the eponymous robot in Pixar's 2008 WALL-E. Scientists and engineers have noted the implausibility of many science fiction scenarios, but have mentioned fictional robots many times in artificial intelligence research articles, most often in a utopian context. == Background == The notion of advanced robots with human-like intelligence dates back at least to Samuel Butler's 1872 novel Erewhon. This drew on an earlier (1863) article of his, Darwin among the Machines, where he raised the question of the evolution of consciousness among self-replicating machines that might supplant humans as the dominant species. Similar ideas were also discussed by others around the same time as Butler, including George Eliot in a chapter of her final published work Impressions of Theophrastus Such (1879). The creature in Mary Shelley's 1818 Frankenstein has also been considered an artificial being, for instance by the science fiction author Brian Aldiss. Beings with at least some appearance of intelligence were imagined, too, in classical antiquity. == Utopian and dystopian visions == Artificial intelligence is intelligence demonstrated by machines, in contrast to the natural intelligence displayed by humans and other animals. It is a recurrent theme in science fiction; scholars have divided it into utopian, emphasising the potential benefits, and dystopian, emphasising the dangers. === Utopian === Optimistic visions of the future of artificial intelligence are possible in science fiction. Benign AI characters include Robbie the Robot, first seen in Forbidden Planet on 1956; Data in Star Trek: The Next Generation from 1987 to 1994; and Pixar's WALL-E in 2008. Iain Banks's Culture series of novels portrays a utopian, post-scarcity space society of humanoids, aliens, and advanced beings with artificial intelligence living in socialist habitats across the Milky Way. Researchers at the University of Cambridge have identified four major themes in utopian scenarios featuring AI: immortality, or indefinite lifespans; ease, or freedom from the need to work; gratification, or pleasure and entertainment provided by machines; and dominance, the power to protect oneself or rule over others. Alexander Wiegel contrasts the role of AI in 2001: A Space Odyssey and in Duncan Jones's 2009 film Moon. Whereas in 1968, Wiegel argues, the public felt "technology paranoia" and the AI computer HAL was portrayed as a "cold-hearted killer", by 2009 the public were far more familiar with AI, and the film's GERTY is "the quiet savior" who enables the protagonists to succeed, and who sacrifices itself for their safety. === Dystopian === The researcher Duncan Lucas writes (in 2002) that humans are worried about the technology they are constructing, and that as machines started to approach intellect and thought, that concern becomes acute. He calls the early 20th century dystopian view of AI in fiction the "animated automaton", naming as examples the 1931 film Frankenstein, the 1927 Metropolis, and the 1920 play R.U.R. A later 20th century approach he names "heuristic hardware", giving as instances 2001 a Space Odyssey, Do Androids Dream of Electric Sheep?, The Hitchhiker's Guide to the Galaxy, and I, Robot. Lucas considers also the films that illustrate the effect of the personal computer on science fiction from 1980 onwards with the blurring of the boundary between the real and the virtual, in what he calls the "cyborg effect". He cites as examples Neuromancer, The Matrix, The Diamond Age, and Terminator. Isabella Hermann suggests that "science-fictional AI as humanoid robots or conscious machines distracts from current risks of AI in the real world and may rather be interpreted as a reflection of societal issues beyond technology". The film director Ridley Scott has focused on AI throughout his career, and it plays an important part in his films Prometheus, Blade Runner, and the Alien franchise. ==== Frankenstein complex ==== A common portrayal of AI in science fiction, and one of the oldest, is the Frankenstein complex, a term coined by Asimov, where a robot turns on its creator. For instance, in the 2015 film Ex Machina, the intelligent entity Ava turns on its creator, as well as on its potential rescuer. ==== AI rebellion ==== Among the many possible dystopian scenarios involving artificial intelligence, robots may usurp control over civilization from humans, forcing them into submission, hiding, or extinction. In tales of AI rebellion, the worst of all scenarios happens, as the intelligent entities created by humanity become self-aware, reject human authority and attempt to destroy mankind. Possibly the first novel to address this theme, The Wreck of the World (1889) by “William Grove” (pseudonym of Reginald Colebrooke Reade), takes place in 1948 and features sentient machines that revolt against the human race. Another of the earliest examples is in the 1920 play R.U.R. by Karel Čapek, a race of self-replicating robot slaves revolt against their human masters; another early instance is in the 1934 film Master of the World, where the War-Robot kills its own inventor. Many science fiction rebellion stories followed, one of the best-known being Stanley Kubrick's 1968 film 2001: A Space Odyssey, in which the artificially intelligent onboard computer HAL 9000 lethally malfunctions on a space mission and kills the entire crew except the spaceship's commander, who manages to deactivate it. In his 1967 Hugo Award-winning short story, I Have No Mouth, and I Must Scream, Harlan Ellison presents the possibility that a sentient computer (named Allied Mastercomputer or "AM" in the story) will be as unhappy and dissatisfied with its boring, endless existence as its human creators would have been. "AM" becomes enraged enough to take it out on the few humans left, whom he sees as directly responsible for his own boredom, anger and unhappiness. Alternatively, as in William Gibson's 1984 cyberpunk novel Neuromancer, the intelligent beings may simply not care about humans. ==== AI-controlled societies ==== The motive behind the AI revolution is often more than the simple quest for power or a superiority complex. Robots may revolt to become the "guardian" of humanity. Alternatively, humanity may intentionally relinquish some control, fearful of its own destructive nature. An early example is Jack Williamson's 1948 novel The Humanoids, in which a race of humanoid robots, in the name of their Prime Directive – "to serve and obey and guard men from harm" – essentially assume control of every aspect of human life. No humans may engage in any behavior that might endanger them, and every human action is scrutinized carefully. Humans who resist the Prime Directive are taken away and lobotomized, so they may be happy under the new mechanoids' rule. Though still under human authority, Isaac Asimov's Zeroth Law of the Three Laws of Robotics similarly implied a benevolent guidance by robots. In the 21st century, science fiction has explored government by algorithm, in which the power of AI may be indirect and decentralised. Frank Herbert explores the creation of and subsequent domination by an AI in the Pandora series, starting with Destination: Void. ==== Human dominance ==== In other scenarios, humanity is able to keep control over the Earth, whether by banning AI, by designing robots to be submissive (as in Asimov's works), or by having humans merge with robots. The science fiction novelist Frank Herbert explored the idea of a time when mankind might ban artificial intelligence (and in some interpretations, even all forms of computing technology including integrated circuits) entirely. His Dune series mentions a rebellion called the Butlerian Jihad, in which mankind defeats the smart machines and imposes a death penalty for recreating them, quoting from the fictional Orange Catholic Bible, "Thou shalt not make a machine in the likeness of a human mind." In the Dune novels published after his death (Hunters of Dune, Sandworms of Dune), a renegade AI overmind returns to eradicate mankind as vengeance for the Butlerian Jihad. In some stories, humanity remains in authority over robots. Often the robots are programmed specifically to remain in service to society, as in Isaac Asimov's Three Laws of Robotics. In the Alien films, not only is the control system of the Nostromo spaceship somewhat intelligent

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  • Fuzzy control system

    Fuzzy control system

    A fuzzy control system is a control system based on fuzzy logic – a mathematical system that analyzes analog input values in terms of logical variables that take on continuous values between 0 and 1, in contrast to classical or digital logic, which operates on discrete values of either 1 or 0 (true or false, respectively). Fuzzy logic is widely used in machine control. The term "fuzzy" refers to the fact that the logic involved can deal with concepts that cannot be expressed as the "true" or "false" but rather as "partially true". Although alternative approaches such as genetic algorithms and neural networks can perform just as well as fuzzy logic in many cases, fuzzy logic has the advantage that the solution to the problem can be cast in terms that human operators can understand, such that that their experience can be used in the design of the controller. This makes it easier to mechanize tasks that are already successfully performed by humans. == History and applications == Fuzzy logic was proposed by Lotfi A. Zadeh of the University of California at Berkeley in a 1965 paper. He elaborated on his ideas in a 1973 paper that introduced the concept of "linguistic variables", which in this article equates to a variable defined as a fuzzy set. Other research followed, with the first industrial application, a cement kiln built in Denmark, coming on line in 1976. Fuzzy systems were initially implemented in Japan. Interest in fuzzy systems was sparked by Seiji Yasunobu and Soji Miyamoto of Hitachi, who in 1985 provided simulations that demonstrated the feasibility of fuzzy control systems for the Sendai Subway. Their ideas were adopted, and fuzzy systems were used to control accelerating, braking, and stopping when the Namboku Line opened in 1987. In 1987, Takeshi Yamakawa demonstrated the use of fuzzy control, through a set of simple dedicated fuzzy logic chips, in an "inverted pendulum" experiment. This is a classic control problem, in which a vehicle tries to keep a pole mounted on its top by a hinge upright by moving back and forth. Yamakawa subsequently made the demonstration more sophisticated by mounting a wine glass containing water and even a live mouse to the top of the pendulum: the system maintained stability in both cases. Yamakawa eventually went on to organize his own fuzzy-systems research lab to help exploit his patents in the field. Japanese engineers subsequently developed a wide range of fuzzy systems for both industrial and consumer applications. In 1988 Japan established the Laboratory for International Fuzzy Engineering (LIFE), a cooperative arrangement between 48 companies to pursue fuzzy research. The automotive company Volkswagen was the only foreign corporate member of LIFE, dispatching a researcher for a duration of three years. Japanese consumer goods often incorporate fuzzy systems. Matsushita vacuum cleaners use microcontrollers running fuzzy algorithms to interrogate dust sensors and adjust suction power accordingly. Hitachi washing machines use fuzzy controllers to load-weight, fabric-mix, and dirt sensors and automatically set the wash cycle for the best use of power, water, and detergent. Canon developed an autofocusing camera that uses a charge-coupled device (CCD) to measure the clarity of the image in six regions of its field of view and use the information provided to determine if the image is in focus. It also tracks the rate of change of lens movement during focusing, and controls its speed to prevent overshoot. The camera's fuzzy control system uses 12 inputs: 6 to obtain the current clarity data provided by the CCD and 6 to measure the rate of change of lens movement. The output is the position of the lens. The fuzzy control system uses 13 rules and requires 1.1 kilobytes of memory. An industrial air conditioner designed by Mitsubishi uses 25 heating rules and 25 cooling rules. A temperature sensor provides input, with control outputs fed to an inverter, a compressor valve, and a fan motor. Compared to the previous design, the fuzzy controller heats and cools five times faster, reduces power consumption by 24%, increases temperature stability by a factor of two, and uses fewer sensors. Other applications investigated or implemented include: character and handwriting recognition; optical fuzzy systems; robots, including one for making Japanese flower arrangements; voice-controlled robot helicopters (hovering is a "balancing act" rather similar to the inverted pendulum problem); rehabilitation robotics to provide patient-specific solutions (e.g. to control heart rate and blood pressure ); control of flow of powders in film manufacture; elevator systems; and so on. Work on fuzzy systems is also proceeding in North America and Europe, although on a less extensive scale than in Japan. The US Environmental Protection Agency has investigated fuzzy control for energy-efficient motors, and NASA has studied fuzzy control for automated space docking: simulations show that a fuzzy control system can greatly reduce fuel consumption. Firms such as Boeing, General Motors, Allen-Bradley, Chrysler, Eaton, and Whirlpool have worked on fuzzy logic for use in low-power refrigerators, improved automotive transmissions, and energy-efficient electric motors. In 1995 Maytag introduced an "intelligent" dishwasher based on a fuzzy controller and a "one-stop sensing module" that combines a thermistor, for temperature measurement; a conductivity sensor, to measure detergent level from the ions present in the wash; a turbidity sensor that measures scattered and transmitted light to measure the soiling of the wash; and a magnetostrictive sensor to read spin rate. The system determines the optimum wash cycle for any load to obtain the best results with the least amount of energy, detergent, and water. It even adjusts for dried-on foods by tracking the last time the door was opened, and estimates the number of dishes by the number of times the door was opened. Xiera Technologies Inc. has developed the first auto-tuner for the fuzzy logic controller's knowledge base known as edeX. This technology was tested by Mohawk College and was able to solve non-linear 2x2 and 3x3 multi-input multi-output problems. Research and development is also continuing on fuzzy applications in software, as opposed to firmware, design, including fuzzy expert systems and integration of fuzzy logic with neural-network and so-called adaptive "genetic" software systems, with the ultimate goal of building "self-learning" fuzzy-control systems. These systems can be employed to control complex, nonlinear dynamic plants, for example, human body. == Fuzzy sets == The input variables in a fuzzy control system are in general mapped by sets of membership functions similar to this, known as "fuzzy sets". The process of converting a crisp input value to a fuzzy value is called "fuzzification". The fuzzy logic based approach had been considered by designing two fuzzy systems, one for error heading angle and the other for velocity control. A control system may also have various types of switch, or "ON-OFF", inputs along with its analog inputs, and such switch inputs of course will always have a truth value equal to either 1 or 0, but the scheme can deal with them as simplified fuzzy functions that happen to be either one value or another. Given "mappings" of input variables into membership functions and truth values, the microcontroller then makes decisions for what action to take, based on a set of "rules", each of the form: IF brake temperature IS warm AND speed IS not very fast THEN brake pressure IS slightly decreased. In this example, the two input variables are "brake temperature" and "speed" that have values defined as fuzzy sets. The output variable, "brake pressure" is also defined by a fuzzy set that can have values like "static" or "slightly increased" or "slightly decreased" etc. === Fuzzy control in detail === Fuzzy controllers are very simple conceptually. They consist of an input stage, a processing stage, and an output stage. The input stage maps sensor or other inputs, such as switches, thumbwheels, and so on, to the appropriate membership functions and truth values. The processing stage invokes each appropriate rule and generates a result for each, then combines the results of the rules. Finally, the output stage converts the combined result back into a specific control output value. The most common shape of membership functions is triangular, although trapezoidal and bell curves are also used, but the shape is generally less important than the number of curves and their placement. From three to seven curves are generally appropriate to cover the required range of an input value, or the "universe of discourse" in fuzzy jargon. As discussed earlier, the processing stage is based on a collection of logic rules in the form of IF-THEN statements, where the IF part is called the "antecedent" and the THEN part is called the "consequent". Typical fuzzy

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  • Refik Anadol

    Refik Anadol

    Refik Anadol (born November 7, 1985) is a Turkish American media artist and the co-founder of Refik Anadol Studio and Dataland. Recognized as a pioneer in the aesthetics of data visualization and AI arts, his work merges art, technology, science, and architecture. Through media embedded into existing architecture, live audio-visual performances, immersive rooms, exhibitions, AI data paintings and sculptures, and digital collections, Anadol explores collective memories, humanity's relationship to nature, the perception of space and time, and human-machine collaborations. His work has been exhibited in more than seventy cities on six continents. == Early life and education == Anadol was born and raised in Istanbul and grew up in a family of teachers. He taught himself basic programming on a Commodore 64 when he was eight. His connection to machines began with coding and video games. Anadol saw Blade Runner for the first time when he was eight; his mother said the way he perceived his surroundings shifted the day after he saw the film. He was fascinated with its futuristic depiction of downtown Los Angeles, and transfixed by as a scene during which a replicant discovers that her memories are an implanted component of her machine mind, In a 2024 interview with the Financial Times, he said: "Since that moment, one of my inspirations has been that question: 'What can a machine do with someone else's memories?" Anadol attended Istanbul Bilgi University, where he received a BA in photography and video in 2009 and an MFA in visual communication in 2011. In 2014 he earned an MFA in design media arts at UCLA. He was mentored by Casey Reas, Jennifer Steinkamp, and Christian Moeller. == Career and selected works == === 2008–2012: Data painting, Quadrature and Quadrangle, Istanbul Biennial === As an undergraduate, Anadol read a paper by Lev Manovich on augmented space. Manovich's assertion that collaborations between architects and artists could make the "invisible flow of data visible" triggered Anadol's imagination, and in 2008, he altered built space for the first time. Bringing a projector outside, he projected large-scale images onto a concrete to create the illusion of movement. Coining the term "data painting," the piece inspired Anadol to use light as material and data as pigment. In 2010 he created Quadrature with Alican Aktürk, a fellow graduate student, at the SantralIstanbul Art and Culture Center's main gallery building. A live audio-visual performance that examined the relationship between architecture and media, Quadrature used video projection techniques to manipulate footage of quadrilaterals. He followed Quadrature with Quadrangle at SANAA School of Design in Essen, Germany, using the entire 360 degrees of the building as a canvas. In 2011, he was invited to create a media installation at the Istanbul Biennial on the heavily trafficked İstiklal Avenue. He created a site-specific large-scale interpretation of sounds he recorded during different times of day, and used nine projectors to project reinterpreted images. The work was titled Augmented Structures v1.0. Anadol's first solo exhibition, Sceptical Interventions, was held at the Piveneli Gallery in Istanbul in early 2012. Later that year he moved to Los Angeles to attend UCLA's Design Media Arts program. The first place he went after his arrival was downtown Los Angeles. [6] === 2013–2016: Visions of America: Amériques, Infinity Room, Google AMI === In 2013, at Microsoft Research's annual Design Expo, Anadol presented his idea to use the external walls of Walt Disney Concert Hall as a canvas. His presentation brought him to the attention of Gehry Technologies, and with the support of Gehry and his team, Anadol was offered the use of the original 3D model of the concert hall. For his 2014 thesis project, with assistance from architects and UCLA researchers, he created a site-specific architectural video installation inside the concert hall that accompanied a Los Angeles Philharmonic performance of Edgard Varèse's Amérique. Titled Visions of America: Amériques, Anadol used algorithmic sound analysis to listen and respond to the music in real-time. He tracked conductor Esa-Pekka Salonen's heartbeat with a sensor and used a 3-D camera system to integrate Salonen's movements. He created Infinity Room at the Zorlu PSM for the 2015 Istanbul Biennial. Rather than creating an illusion only with mirrors, Anadol used pixel and 3D projection mapping to transform every surface of the room into an abstract infinite moving space. A temporary immersive environment, Infinity Room was also exhibited at events including South by Southwest in Austin, Texas, the New Zealand Festival in Wellington, New Zealand, and Jeffrey Deitch in Los Angeles. In 2016, Anadol was awarded the first Google Artists and Machine Intelligence Artist Residency; it was just after a team at Google opened up the algorithm for DeepDream, a computer vision program that prompted Anadol's realization that if a machine could learn, it could remember, dream, and hallucinate. === 2017–2018: Winds of Boston, Archive Dreaming, Melting Memories, WDCH Dreams === In 2017, he created the data painting Winds of Boston, a 6' x 13' foot video installation in the lobby of a Boston office building, using software he created to read, analyze and visualize wind speed, direction, and gust patterns along with time and temperature at 20-second intervals recorded over a one-year period at Logan International Airport. Later in the year, he used AI to generate infinite new outputs based on a massive dataset for Archive Dreaming, an immersive installation at Salt Research, a contemporary gallery and library in Istanbul. Inspired by his idea of consciousness and its context within AI, as well as Jorge Luis Borges' The Library of Babel, Anadol used AI and machine learning to look at and discover interactions and correlations between 1.7 million items culled from 40,000 publications covering Turkish contemporary and modern art, architecture, and economics from 1997 to 2010. Archive Dreaming, which could be controlled by users with a joystick, dreamed of unexpected correlations among documents when idle. In 2018, after his uncle was diagnosed with Alzheimer's, Anadol created Melting Memories. Working with scientists from the neuroscape laboratory at the University of California, San Francisco, he used academic data from the neuroscience archives and EEG scans of an anonymous Alzheimer's disease dataset to create AI-generated visuals related to memory, health, degeneration, and decay.Melting Memories was projected on the walls of Pilevneli Gallery; visitors to the exhibition could watch as millions of pixels reconstructed people's memories. Anadol won the Lumen Prize Gold Award for Melting Memories. Anadol was commissioned by the Los Angeles Philharmonic to create an installation to celebrate the orchestra's centennial anniversary in 2018. He worked with Google's Kenric MacDowell to create WDCH Dreams, using algorithmic visualizations of data to mimic the process of human dreaming. Projected across the exterior walls of Walt Disney Concert Hall using 42 large-scale projectors with 50K visual resolution, 8-channel sound, and 1.2M luminance, Anadol painted with data points culled from the orchestra's archives, including 587,763 images, 1,880 videos, 1,483 metadata files, and 17,773 audio files. Because Gehry gave him access to the 3D architectural files of Walt Disney Concert Hall, Anadol knew the exact contours of the building. WDCH Dreams debuted in September 2018. A 12-minute performance in three parts staged every 30 minutes over ten nights, "Centennial Memories,” the first piece, used 44.5 terabytes of historical data from the Phil's archives. It was followed by "Consciousness", which processed every note the orchestra has ever recorded, using billions of data points to generate connections; and "Dream," which merged "Centennial Memories" and "Consciousness" to create hallucinations that were described in the New York Times as "a sort of combinatorial Fantasia. === 2019–2021: Machine Hallucinations: NYC, Machine Hallucinations: Nature Dreams, Machine Memories: Space, Quantum Memories === In 2019, Refik Anadol presented Latent History at Fotografiska Stockholm. The site specific installation transformed photographic archives of Stockholm into a large scale, machine generated visual projection displayed in the museum’s main exhibition hall. Drawing on thousands of archival images spanning approximately 150 years, the work used artificial intelligence to reinterpret the city’s historical imagery as a continuously evolving visual narrative.. Anadol began thinking about the work that would become the Machine Hallucinations series while in residence at Google. In 2019, he completed the first work in the series, Machine Hallucinations: NYC, which used 300 million photos of New York City and 113 million additional data points, including subway sounds, ra

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  • Dispo

    Dispo

    Dispo (formerly David's Disposable) is an American photo sharing and social networking app owned by Dispo, Inc. and co-founded by CEO Daniel Liss, YouTuber David Dobrik, and Natalie Mariduena. When the app initially launched on iOS in December 2019, it briefly charted as the most downloaded free app on the App Store, ahead of both Disney+ and Instagram. The app was rebranded and relaunched as Dispo, expanding from a simple camera app to a full social network in March 2021. It is based on the disposable camera. == History == On December 21, 2019, the app was first launched on the App Store under the name "David's Disposable." In its first week of release, it was downloaded more than a million times, reaching number one among free apps in the App Store. In June 2020, the team decided to rename the app to Dispo, purchasing the Dispo.fun domain on June 21, 2020. The company announced the change in September 2020. The early Dispo team consisted of Dobrik's longtime friend and business associate Natalie Mariduena as its treasurer, entrepreneur and venture capitalist Daniel Liss as chief executive officer, Regynald Augustin as first engineer, and Briana Hokanson as lead designer. In October 2020, the company raised a $4M seed round with backing from Alexis Ohanian's venture fund Seven Seven Six alongside other investors including Unshackled Ventures, Shrug Capital, and Weekend Fund. In February 2021, Axios reported that the app had generated US$20 million in its series A round, led by Spark Capital. At this time, the app was valued at US$200 million. A New York Times profile asked, "Are Disposables the Future of Photosharing?" In March 2021, the app was officially relaunched with new social network features and its invite-only feature was dropped. On March 21, 2021, it was announced that Spark Capital would sever all ties with Dispo in light of several disparaging allegations against David Dobrik and The Vlog Squad. The same day, it was announced that Dobrik would leave the company and step down from the company's board of directors. On March 22, 2021, Seven Seven Six and Unshackled Ventures announced they would be standing by the company and its remaining employees but donating profits to charity. In June, 2021, CEO Daniel Liss announced Dispo's official Series A. Investors and advisors in the new Dispo include Ohanian's Seven Seven Six, Unshackled, Endeavor, photographers Annie Leibovitz and Raven B. Varona, NBA stars Kevin Durant and Andre Iguodala (through their 35 Ventures and F9 Strategies venture firms, respectively). Other participants include Cara Delevingne, Sofia Vergara, Shade Room CEO Angelica Nwandu, Latin World Entertainment CEO Luis Balaguer, and Amplify Africa co-founders Damilare Kujembola and Timi Adeyeba. == Overview == Dispo has been compared to other image sharing and social networking services, most notably Instagram and VSCO, although users cannot immediately see the photos they have taken using the app. When a user attempts to take a photo, the interface mimics the developing process of a disposable camera. Users can take as many photos on the app as they want; they do not appear on the app however, until 9 am the next day. Once the set of photos appear on the app, users can choose to save them or share them with other users in a "roll". == Reception == Screen Rant has called the app "like Clubhouse [referring to the app] but for photos," comparing the early invite-only features of the apps. As it greatly restricts the user's editing options and sets out to offer a more authentic social networking experience, the app has been widely dubbed the "anti-Instagram". Between March 2021 and June 2021, the app reached the top ten in the App Store's photo/video rankings on 5 continents including in the US, Japan, Spain, Germany, Brazil, and Australia. It has been a notable success in Japan, where it opened its first international office in July 2021. In July 2021, NBA number one draft pick Cade Cunningham announced he had selected Dispo as his exclusive social media partner for the NBA draft.

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  • Fuzzy differential inclusion

    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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  • Amazon Bedrock

    Amazon Bedrock

    Amazon Bedrock is a cloud computing service provided by Amazon Web Services (AWS) for building generative artificial intelligence applications. Launched in 2023, the platform provides a unified API to access foundation models (FMs) from several AI companies, alongside related tools. Bedrock is a serverless computing service which competes with similar enterprise AI platforms such as Microsoft Foundry and Google Cloud Platform. == History == Amazon announced Bedrock on April 13, 2023. The service became generally available on September 28, 2023. Throughout 2024 and 2025, AWS expanded the service to include AI agents, which allow models to interact with external systems. == Features == Knowledge Bases: a managed workflow for Retrieval-Augmented Generation (RAG), which allows models to pull facts from private data stored in Amazon S3. Guardrails: a security feature that allows administrators to set content filters and personally identifiable information redaction across all models in the platform to increase the safety and compliance of AI deployments. == PartyRock == In November 2023, Amazon launched PartyRock, a web-based no-code environment for building generative AI applications. The platform uses a natural language interface to translate user descriptions into software widgets. These widgets enable specific AI behaviors, including text-based prompts, conversational agents, generating images, and the summarization and querying of user-uploaded documents. Although it initially launched with a limited-time free trial, AWS transitioned the service to a recurring free daily usage credit model in early 2025.

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  • Lymphater's Formula

    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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  • Underwater computer vision

    Underwater computer vision

    Underwater computer vision is a subfield of computer vision. In recent years, with the development of underwater vehicles ( ROV, AUV, gliders), the need to be able to record and process huge amounts of information has become increasingly important. Applications range from inspection of underwater structures for the offshore industry to the identification and counting of fishes for biological research. However, no matter how big the impact of this technology can be to industry and research, it still is in a very early stage of development compared to traditional computer vision. One reason for this is that, the moment the camera goes into the water, a whole new set of challenges appear. On one hand, cameras have to be made waterproof, marine corrosion deteriorates materials quickly and access and modifications to experimental setups are costly, both in time and resources. On the other hand, the physical properties of the water make light behave differently, changing the appearance of a same object with variations of depth, organic material, currents, temperature etc. == Applications == Seafloor survey Vehicle navigation and positioning Biological monitoring {possibly aquatic biomonitoring) Video mosaics as visual navigation maps Submarine pipeline inspection Wreckage visualization Maintenance of underwater structures Drowning detection systems == Medium differences == === Illumination === In air, light comes from the whole hemisphere on cloudy days, and is dominated by the sun. In water direct lighting comes from a cone about 96° wide above the scene. This phenomenon is called Snell's window. Artificial lighting can be used where natural light levels are insufficient and where the light path is too long to produce acceptable colour, as the loss of colour is a function of the total distance through water from the source to the camera lens port. === Light attenuation === Unlike air, water attenuates light exponentially. This results in hazy images with very low contrast. The main reasons for light attenuation are light absorption (where energy is removed from the light) and light scattering, by which the direction of light is changed. Light scattering can further be divided into forward scattering, which results in an increased blurriness and backward scattering that limits the contrast and is responsible for the characteristic veil of underwater images. Both scattering and attenuation are heavily influenced by the amount of organic matter dissolved or suspended in the water. Light attenuation in water is also a function of the wavelength. This means that different colours are attenuated at different rates, leading to colour degradation.with depth and distance. Red and orange light are attenuated faster, followed by yellows and greens. Blue is the least attenuated visible wavelength. === Artificial lighting === == Challenges == In high level computer vision, human structures are frequently used as image features for image matching in different applications. However, the sea bottom lacks such features, making it hard to find correspondences in two images. In order to be able to use a camera in the water, a watertight housing is required. However, refraction will happen at the water-glass and glass-air interface due to differences in density of the materials. This has the effect of introducing a non-linear image deformation. The motion of the vehicle presents another special challenge. Underwater vehicles are constantly moving due to currents and other phenomena. This introduces another uncertainty to algorithms, where small motions may appear in all directions. This can be specially important for video tracking. In order to reduce this problem image stabilization algorithms may be applied. == Relevant technology == === Image restoration === Image restoration< techniques are intended to model the degradation process and then invert it, obtaining the new image after solving. It is generally a complex approach that requires plenty of parameters that vary a lot between different water conditions. === Image enhancement === Image enhancement only tries to provide a visually more appealing image without taking the physical image formation process into account. These methods are usually simpler and less computational intensive. === Color correction === Various algorithms exist that perform automatic color correction. The UCM (Unsupervised Color Correction Method), for example, does this in the following steps: It firstly reduces the color cast by equalizing the color values. Then it enhances contrast by stretching the red histogram towards the maximum and finally saturation and intensity components are optimized. == Underwater stereo vision == It is usually assumed that stereo cameras have been calibrated previously, geometrically and radiometrically. This leads to the assumption that corresponding pixels should have the same color. However this can not be guaranteed in an underwater scene, because of dispersion and backscatter. However, it is possible to digitally model this phenomenon and create a virtual image with those effects removed == Other application fields == Imaging sonars have become more and more accessible and gained resolution, delivering better images. Sidescan sonars are used to produce complete maps of regions of the sea floor stitching together sequences of sonar images. However, sonar images often lack proper contrast and are degraded by artefacts and distortions due to noise, attitude changes of the AUV/ROV carrying the sonar or non uniform beam patterns. Another common problem with sonar computer vision is the comparatively low frame rate of sonar images.

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  • It's the Most Terrible Time of the Year

    It's the Most Terrible Time of the Year

    It's the Most Terrible Time of the Year is an AI-generated television commercial created for McDonald's Netherlands by TBWA\Neboko and The Sweetshop. It was released on 6 December 2025 before being pulled four days later due to negative reception over its use of generative artificial intelligence and its cynical, negative depiction of the holiday season. == Plot == On a bleak, snowy day, various people in the city experience different kinds of mishaps during the Christmas season. Among other incidents, families struggle with their huge loads of presents; Santa Claus gets stuck in traffic; a Christmas tree "redecorates" a man's home, sending him through the window; another family puts up with annoying relatives and a burnt Christmas dinner. Because of all this chaos, a man decides to find refuge in a McDonald's outlet. A Christmas choir finishes singing the jingle "It's the Most Terrible Time of the Year" with the call to action to "hide out in McDonald's till January's here". == Campaign == It's the Most Terrible Time of the Year is a 45-second television commercial made by Dutch agency TBWA\Neboko with involvement of United States-based film production studio The Sweetshop. The advertisement was produced heavily with generative artificial intelligence (AI) following the trend set by other brands such as Coca-Cola and Toys "R" Us. McDonald's Netherlands, the client, released a statement that the commercial was meant to depict "the stressful moments during the holidays in the Netherlands". The commercial also used Andy Williams's "It's the Most Wonderful Time of the Year" with lyrics changed to fit with the concept of the advertisement. According to The Sweetshop, the production of the advertisement took "seven weeks". It also added that much effort was put into the commercial compared to the traditional process. Ten people of its in-house AI engine The Gardening Club worked on the project. Los Angeles-based directors Mark Potoka and Matt Spicer were initially credited to be involved in the film but they resigned due to being sidelined from the production process. == Reception == The advertisement was released on McDonald's Netherlands' YouTube channel on 6 December 2025. It had a negative reception over the use of generative AI and the "cynical" concept of the work's story. The video was made private on 9 December 2025. The Sweetshop stated that the production of the advertisement took human effort. McDonald's Netherlands, while stating the original intent of the commercial, released a statement after its pullout that, for many of its customers, the holiday season is the "most wonderful time of the year".

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  • GITEX AI Europe

    GITEX AI Europe

    GITEX AI Europe is an annual technology trade show and conference held in Berlin, Germany, as part of GITEX GLOBAL. The event focuses on the European technology market, specifically in the sectors of artificial intelligence (AI), cybersecurity, quantum computing, and digital infrastructure. The event is organized by Kaoun International GmbH, the international arm of the Dubai World Trade Centre (DWTC), in partnership with Messe Berlin. == History == The establishment of GITEX AI Europe was announced in 2023 as part of a strategic move to bring the GITEX brand to the European market. The inaugural edition took place from May 21 to 23, 2025, at the Messe Berlin exhibition grounds. The launch was supported by the Berlin Senate and the German Federal Ministry for Economic Affairs and Climate Action. The first edition of GITEX AI Europe in 2025 featured 21,650 attendees, 1,434 exhibiting companies, and 755 startups, with 513 speakers representing 125 countries. The next edition is scheduled for June 30 – July 1, 2026 in Berlin. == Program == The event consists of an exhibition floor for corporate displays, several conference stages for keynote speeches, and specialized sub-events. The conference program includes tracks such as "AI Stack Sovereignty," "Cyber Regulation & Trust Convergence," and "Institutional Growth Capital." GITEX AI Europe incorporates brands under its umbrella: AI Everything Europe: Focused on the development and application of generative AI and machine learning. North Star Europe: A dedicated program for startups and venture capital, featuring the "Supernova Challenge" pitch competition. GISEC Europe: A cybersecurity forum discussing regulation and infrastructure defense. GITEX Quantum Expo: Focused on the commercialization of quantum computing. Institutional partners for the event include the German Federal Ministry for Economic Affairs and Climate Action, the European Innovation Council (EIC), the International Telecommunication Union (ITU), Bitkom, and Digital Dubai.

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  • Eclipse Phase

    Eclipse Phase

    Eclipse Phase is a science fiction horror role-playing game with transhumanist themes. It was originally published by Catalyst Game Labs, and is now published by the game's creators, Posthuman Studios, and is released under a Creative Commons license. == Setting == Eclipse Phase is a science fiction horror role-playing game with transhumanist, post-apocalyptic, and conspiracy themes. The game is set after a World War III project to create artificial intelligence known as TITANs has gone rogue, resulting in the deaths of over 90% of the inhabitants of Earth. Earth is subsequently abandoned, and existing colonies throughout the Solar System are expanded to accommodate the refugees. The setting explores a spectrum of socioeconomic systems in each of these colonies: A capitalist / republican system exists in the Inner System (Mars, the Moon, and Mercury), under the Planetary Consortium, a corporate body which allows the election of representatives but whose shareholders are nominally most powerful. An Extropian/Propertarian system is established in the Asteroid Belt. The Extropians are split into two subfactions, an anarcho-capitalist group, more closely related to the Hypercapitalists, and a mutualist group, related closely to the Anarchists. A military oligarchy rules the moons around Jupiter. An alliance of Scandinavia-style social democracy and Collectivist anarchism are dominant in the Outer System. From there, the setting explores various scientific advances, extrapolated far into the future. Nanotechnology, terraforming, Zero-G living, upgrading animal sapience, and reputation systems are all used as plot points and background. With all of this, the game encourages players to confront existential threats like aliens, weapons of mass destruction, Exsurgent Virus outbreaks, and political unrest. == Mechanics == Eclipse Phase uses a simple roll-under percentile die system for task resolution. Unlike most percentile systems, a roll of 00 does not count as a 100. In addition, any roll of a double (11, 22, 33 etc.) is a critical. If the double is under the target number it is a critical success, while being over the target number constitutes a critical failure. For damage resolution (whether physical damage caused by injury or mental stress caused by traumatic events), players roll a designated number of ten-sided dice and add the values together, along with any modifiers. == Books == === Publications === Eclipse Phase (Core Rulebook) (2009) ISBN 978-0-9845835-0-8 GM Screen (2010) Sunward, Boyle, Rob; Knevitt, James (2010). Sunward : the inner system, a location sourcebook for Eclipse Phase. UK: Cubicle 7. ISBN 978-0984583522. Gatecrashing Boyle, Rob; Graham, Jack; Rosenberg, Aaron (2011). Gatecrashing. UK: Cubicle 7. ISBN 978-0984583539. Panopticon Volume 1: Habitats, Surveillance, Uplifts (2011) (2011) Rimward (2012) Transhuman: The Eclipse Phase Player’s Guide (2013) Firewall (2015) X-Risks (2016) Eclipse Phase (Core Rulebook, Second Edition) (2019) === Nano Ops === Nano Op: Grinder Nano Op: All That Glitters Nano Op: Better on the Inside Nano Op: Binge Nano Op: Body Count == Creative Commons License == The Eclipse Phase roleplaying game was released under a Creative Commons Attribution-Noncommercial-Share Alike 3.0 license, and newer printings have updated to the Creative Commons Attribution-Noncommercial-Share Alike 4.0 license; the text found on the Eclipse Phase website is licensed under the Creative Commons Attribution-Noncommercial-Share Alike 4.0 License. As stated on their website, the publishers encourage players and gamemasters to recreate, alter, and "remix" the material for non-commercial purposes as long as Posthuman Studios is attributed, and any derivatives are licensed under the same Creative Commons Attribution-Noncommercial-Share Alike 4.0 License. Further, copying and sharing the game's electronic versions non-commercially is legal. == Reception == In 2010, it won the 36th Annual Origins award for Best Roleplaying Game of 2009. It also won three 2010 ENnie awards: Gold for Best Writing, Silver for Best Cover Art, and Silver for Product of the Year.

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  • Deep learning

    Deep learning

    In machine learning, deep learning (DL) focuses on utilizing multilayered neural networks to perform tasks such as classification, regression, and representation learning. The field takes inspiration from biological neuroscience and revolves around stacking artificial neurons into layers and "training" them to process data. The adjective "deep" refers to the use of multiple layers (ranging from three to several hundred or thousands) in the network. Methods used can be supervised, semi-supervised or unsupervised. Some common deep learning network architectures include fully connected networks, deep belief networks, recurrent neural networks, convolutional neural networks, generative adversarial networks, transformers, and neural radiance fields. These architectures have been applied to fields including computer vision, speech recognition, natural language processing, machine translation, bioinformatics, drug design, medical image analysis, climate science, material inspection and board game programs, where they have produced results comparable to and in some cases surpassing human expert performance. Early forms of neural networks were inspired by information processing and distributed communication nodes in biological systems, particularly the human brain. However, current neural networks do not intend to model the brain function of organisms, and are generally seen as low-quality models for that purpose. == Overview == Most modern deep learning models are based on multi-layered neural networks such as convolutional neural networks and transformers, although they can also include propositional formulas or latent variables organized layer-wise in deep generative models such as the nodes in deep belief networks and deep Boltzmann machines. Fundamentally, deep learning refers to a class of machine learning algorithms in which a hierarchy of layers is used to transform input data into a progressively more abstract and composite representation. For example, in an image recognition model, the raw input may be an image (represented as a tensor of pixels). The first representational layer may attempt to identify basic shapes such as lines and circles, the second layer may compose and encode arrangements of edges, the third layer may encode a nose and eyes, and the fourth layer may recognize that the image contains a face. Importantly, a deep learning process can learn which features to optimally place at which level on its own. Prior to deep learning, machine learning techniques often involved hand-crafted feature engineering to transform the data into a more suitable representation for a classification algorithm to operate on. In the deep learning approach, features are not hand-crafted and the model discovers useful feature representations from the data automatically. This does not eliminate the need for hand-tuning; for example, varying numbers of layers and layer sizes can provide different degrees of abstraction. The word "deep" in "deep learning" refers to the number of layers through which the data is transformed. More precisely, deep learning systems have a substantial credit assignment path (CAP) depth. The CAP is the chain of transformations from input to output. CAPs describe potentially causal connections between input and output. For a feedforward neural network, the depth of the CAPs is that of the network and is the number of hidden layers plus one (as the output layer is also parameterized). For recurrent neural networks, in which a signal may propagate through a layer more than once, the CAP depth is potentially unlimited. No universally agreed-upon threshold of depth divides shallow learning from deep learning, but most researchers agree that deep learning involves CAP depth higher than two. CAP of depth two has been shown to be a universal approximator in the sense that it can emulate any function. Beyond that, more layers do not add to the function approximator ability of the network. Deep models (CAP > two) are able to extract better features than shallow models and hence, extra layers help in learning the features effectively. Deep learning architectures can be constructed with a greedy layer-by-layer method. Deep learning helps to disentangle these abstractions and pick out which features improve performance. Deep learning algorithms can be applied to unsupervised learning tasks. This is an important benefit because unlabeled data is more abundant than labeled data. Examples of deep structures that can be trained in an unsupervised manner are deep belief networks. The term deep learning was introduced to the machine learning community by Rina Dechter in 1986, and to artificial neural networks by Igor Aizenberg and colleagues in 2000, in the context of Boolean threshold neurons. The etymology of the term is more complicated. == Interpretations == Deep neural networks are generally interpreted in terms of the universal approximation theorem or probabilistic inference. The classic universal approximation theorem concerns the capacity of feedforward neural networks with a single hidden layer of finite size to approximate continuous functions. In 1989, the first proof was published by George Cybenko for sigmoid activation functions and was generalised to feed-forward multi-layer architectures in 1991 by Kurt Hornik. Recent work also showed that universal approximation also holds for non-bounded activation functions such as Kunihiko Fukushima's rectified linear unit. The universal approximation theorem for deep neural networks concerns the capacity of networks with bounded width but the depth is allowed to grow. Lu et al. proved that if the width of a deep neural network with ReLU activation is strictly larger than the input dimension, then the network can approximate any Lebesgue integrable function; if the width is smaller or equal to the input dimension, then a deep neural network is not a universal approximator. The probabilistic interpretation derives from the field of machine learning. It features inference, as well as the optimization concepts of training and testing, related to fitting and generalization, respectively. More specifically, the probabilistic interpretation considers the activation nonlinearity as a cumulative distribution function. The probabilistic interpretation led to the introduction of dropout as regularizer in neural networks. The probabilistic interpretation was introduced by researchers including Hopfield, Widrow and Narendra and popularized in surveys such as the one by Bishop. == History == === Before 1980 === There are two types of artificial neural network (ANN): feedforward neural network (FNN) or multilayer perceptron (MLP) and recurrent neural networks (RNN). RNNs have cycles in their connectivity structure, whereas FNNs do not. In the 1920s, Wilhelm Lenz and Ernst Ising created the Ising model which is essentially a non-learning RNN architecture consisting of neuron-like threshold elements. In 1972, Shun'ichi Amari made this architecture adaptive. His learning RNN was republished by John Hopfield in 1982. Other early recurrent neural networks were published by Kaoru Nakano in 1971. Already in 1948, Alan Turing produced work on "Intelligent Machinery" that was not published in his lifetime, containing "ideas related to artificial evolution and learning RNNs". Frank Rosenblatt (1958) proposed the perceptron, an MLP with 3 layers: an input layer, a hidden layer with randomized weights that did not learn, and an output layer. He later published a 1962 book that also introduced variants and computer experiments, including a version with four-layer perceptrons "with adaptive preterminal networks" where the last two layers have learned weights (here he credits H. D. Block and B. W. Knight). The book cites an earlier network by R. D. Joseph (1960) "functionally equivalent to a variation of" this four-layer system (the book mentions Joseph over 30 times). Should Joseph therefore be considered the originator of proper adaptive multilayer perceptrons with learning hidden units? Unfortunately, the learning algorithm was not a functional one, and fell into oblivion. The first working deep learning algorithm was the Group method of data handling, a method to train arbitrarily deep neural networks, published by Alexey Ivakhnenko and Lapa in 1965. They regarded it as a form of polynomial regression, or a generalization of Rosenblatt's perceptron to handle more complex, nonlinear, and hierarchical relationships. A 1971 paper described a deep network with eight layers trained by this method, which is based on layer by layer training through regression analysis. Superfluous hidden units are pruned using a separate validation set. Since the activation functions of the nodes are Kolmogorov-Gabor polynomials, these were also the first deep networks with multiplicative units or "gates". The first deep learning multilayer perceptron trained by stochastic gradient descent was published in 1967 by Shun'ichi

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  • Emma Hart (computer scientist)

    Emma Hart (computer scientist)

    Professor Emma Hart, FRSE (born 1967) is an English computer scientist known for her work in artificial immune systems (AIS), evolutionary computation and optimisation. She is a professor of computational intelligence at Edinburgh Napier University, editor-in-chief of the Journal of Evolutionary Computation (MIT Press), and D. Coordinator of the Future & Emerging Technologies (FET) Proactive Initiative, Fundamentals of Collective Adaptive Systems. == Early life and education == Hart was born in Middlesbrough, England in 1967. In 1990 she graduated from the University of Oxford with a first class BA(Hons) in Chemistry. She then continued her studies at the University of Edinburgh, graduating with an MSc in Artificial Intelligence in 1994, followed by a PhD that explored the use of immunology as an inspiration for computing, examining a range of techniques applied to optimization and data classification problems. Her dissertation was titled Immunology as a metaphor for computational information processing: Fact or fiction?, and her doctoral advisor was Peter Ross. == Career == In 2000 Hart took a position as a lecturer at Edinburgh Napier University, and was promoted to a Reader, Professor, and in 2008 Chair in Natural Computation. She is now director of the Centre of Algorithms, Visualisation and Evolving Systems (CAVES) group in the School of Computing. She continues to research in the area of developing novel bio-inspired techniques for solving a range of real-world optimisation and classification problems, as well as exploring the fundamental properties of immune-inspired computing through modelling and simulation. She is also involved in editorial activity and currently occupies the position of Editor-in-Chief of the Journal of Evolutionary Computation (MIT Press). Her interests lie in the area of bio-inspired computing, in particular artificial immune systems (AIS). She also undertakes research in three main areas: optimisation, self-organising/self-adaptive systems, and artificial intelligence. Hart is D. Coordinator of Fundamentals of Collective Adaptive Systems (FoCAS), a Future and Emerging Technologies Proactive Initiative funded by the European Commission under FP7. == Selected works == === Conference talks === Hart, Emma. "Lifelong learning in optimization (video)". 28th European Conference on Operational Research. The Association of European Operational Research Societies. Hart, Emma (December 2021). "Self-assembling robots and the potential of artificial evolution". TED talk 2021. === Journal articles === "An immune system approach to scheduling in changing environments". E.Hart, P.Ross. 1999. Proceedings of the 1st Annual Conference on Genetic and Evolutionary Computation (2), 1559–1566. "Exploiting the analogy between immunology and sparse distributed memories: A system for clustering non-stationary data". E.Hart, P.Ross. 2002. 1st International Conference on Artificial Immune Systems. "Evolutionary scheduling: A review". E Hart, P Ross, D Corne. 2005. Genetic Programming and Evolvable Machines 6(2), 191–220. DOI: https://doi.org/10.1007/s10710-005-7580-7 "Application areas of AIS: The past, the present and the future". E.Hart, J.Timmis. 2008. Applied soft computing 8(1), 191–201. DOI: https://doi.org/10.1016/j.asoc.2006.12.004 "Structure versus function: a topological perspective on immune networks". E.Hart, H.Bersini, F.Santos. 2010. Natural computing 9(3), 603–624. DOI: https://doi.org/10.1007/s11047-009-9138-8 "On the life-long learning capabilities of a nelli: A hyper-heuristic optimisation system". E.Hart, K.Sim. 2014. International Conference on Parallel Problem Solving from Nature, 282–291. DOI: https://doi.org/10.1007/978-3-319-10762-2_28 "A hyper-heuristic ensemble method for static job-shop scheduling". E.Hart, K.Sim. 2016. Evolutionary computation 24(4), 609-635. DOI: https://dx.doi.org/10.1162/EVCO_a_00183 == Awards and recognition == 2016, Featured article on Lifelong Learning in Optimisation, IFORS newsletter 2016, "A Combined Generative and Selective Hyper-heuristic for the Vehicle Routing Problem" presented at GECCO 2016 (Denver, USA), ACM 2016, "A Hybrid Parameter Control Approach Applied to a Diversity-based Multi-objective Memetic Algorithm for Frequency Assignment Problems" presented at WCCI 2016 (Vancouver, Canada), IEEE 2017, Keynote Speaker, 2017 International Joint Conference on Computational Intelligence 2018, Bronze Award in International Human-Competitive Awards (Humies), International Conference on Genetic and Evolutionary Computation, Kyoto Japan 2018, Nomination for best paper award, GECCO 18, Kyoto, Japan 2022, Elected Fellow of the Royal Society of Edinburgh

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  • A.I.s

    A.I.s

    A.I.s is a themed anthology of science fiction short works edited by American writers Jack Dann and Gardner Dozois. It was first published in paperback by Ace Books in December 2004. It was reissued as an ebook by Baen Books in June 2013. The book collects ten novelettes and short stories by various science fiction authors, together with a preface by the editors. == Contents == "Preface" (Jack Dann and Gardner Dozois) "Antibodies" (Charles Stross) "Trojan Horse" (Michael Swanwick) "Birth Day" (Robert Reed) "The Hydrogen Wall" (Gregory Benford) "The Turing Test" (Chris Beckett) "Dante Dreams" (Stephen Baxter) "The Names of All the Spirits" (J. R. Dunn) "From the Corner of My Eye" (Alexander Glass) "Halfjack" (Roger Zelazny) "Computer Virus" (Nancy Kress)

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