AI Headshot Make

AI Headshot Make — independent reviews, comparisons, pricing and step-by-step guides on Aizhi.

Deep Zoom

Deep Zoom is a technology developed by Microsoft for efficiently transmitting and viewing images. It allows users to pan around and zoom in on a large, high resolution image or a large collection of images. It reduces the time required for initial load by downloading only the region being viewed or only at the resolution it is displayed at. Subsequent regions are downloaded as the user pans to (or zooms into) them; animations are used to hide any jerkiness in the transition. The libraries are also available in other platforms including Java and Flash. == History == The Deep Zoom file format is very similar to the Google Maps image format where images are broken into tiles and then displayed as required. The tiling typically follows a quadtree pattern of increasing resolution of image (in other words twice the zoom and twice the resolution). The main difference is that with Google Maps the actual details on the image change from one zoom level to another, while with Deep Zoom the same image is displayed at each zoom level. Seadragon Software, formerly Sand Codex, first created the Seadragon technology and its implementation of what is now called Deep Zoom. This technology was then absorbed into the Microsoft Live Labs when Seadragon Software was acquired. Engineers from Seadragon now work with Microsoft to integrate their work into technology such as Silverlight and Photosynth. == Deep Zoom examples == The most famous implementation of Deep Zoom was probably the first: the memorabilia collection at the Hard Rock website. Conceived and designed by Duncan/Channon and built by Vertigo, it was demonstrated for the first time in March 2008 at the Microsoft MIX convention in Las Vegas. In 2010, Microsoft Live Labs partnered with the University of California, Berkeley to create ChronoZoom, a DeepZoom-powered time visualization tool that pushed the limits of DeepZoom, since it required zooming from the scale of 13 billion years down to a single day. The project has since graduated to development under Microsoft Research. Another example is the Deep Earth project. It is described by its creators as "a community project focused on creating a rich interactive mapping control using Silverlight2 Deep Zoom. Concentrating on Microsoft Virtual Earth imagery and data the project offers team members the opportunity to learn and share while creating something cool and useful." A paintings collection project http://galleryzoom.co.uk/ shows 1000 high resolution/sensor images individually indexed. (Using Deep Zoom Composer). Blaise Aguera y Arcas gave a demonstration of Seadragon and Photosynth at the 2007 TED conference. In November 2009, 352 Media Group, a Silverlight developer in the Microsoft Silverlight Partner Program, created an example of Deep Zoom using Microsoft Silverlight version 3. It is online at 352 Media Group's Web site. The Winston Churchill Deep Zoom Archived 2010-07-04 at the Wayback Machine mosaic, created by Silverlight developers Shoothill, features as both an online interactive deep zoom and a standalone deep zoom which forms part of the Churchill exhibit in the Churchill War Rooms in Whitehall. In 2010, Shoothill built the Sumatran Tiger Deep Zoom - the largest seen to date - for worldwide conservation charity Fauna and Flora International, featuring thousands of images of endangered species. An early example of Deep Zoom-like technology was implemented at The Department of Maori Affairs in New Zealand in 1997. The technology was used to display Maori land ownership. == Deep Zoom images == The file format used by Deep Zoom (as well as Photosynth and Seadragon Ajax) is XML based. Users can specify a single large image (dzi) or a collection of images (dzc). It also allows for "Sparse Images"; where some parts of the image have greater resolution than others, an example of which can be found on the Seadragon Ajax home page; The bike image displayed is a sparse image. Though used in the proprietary Deep Zoom, the dzi format is open and able to be used by anyone. === Deep Zoom image (dzi) === A DZI has two parts: a DZI file (with either a .dzi or .xml extension) and a subdirectory of image folders. Each folder in the image subdirectory is labeled with its level of resolution. Higher numbers correspond to a higher resolution level; inside each folder are the image tiles corresponding to that level of resolution, numbered consecutively in columns from top left to bottom right. === Deep Zoom collection (dzc) === A DZC is a collection of some number of DZIs linked and referenced by a DZC file (with either a .dzc or .xml extension). At a high level, a collection is a number of image thumbnails whose location is kept track of by the .dzc/.xml file, when zooming into an image, it accesses greater resolutions tiles. A DZC's structure is similar to that of a DZI; the .dzc/.xml file defines the collection and the subdirectory of folders maps to the DZI file structure, each with their set of .dzi/.xml and image tiles. The DZC is used in Microsoft's Pivot, but not in SeaDragon per se. === Sparse Images === Sparse images are a sub-classification of the DZI file type. A sparse image is normally a number of separate photographs with varying resolution levels that have been placed in a single DZI instead of a DZC. Sparse images have no different file structure than that of a DZI and differ only in that there is not a single "highest resolution" level for the entire DZI. == Software that uses Deep Zoom == Image Composite Editor - image stitching tool created by Microsoft Research Deep Zoom Composer - collage maker and simple panorama tool created by Microsoft. Images' resolution is maintained when exporting for web use (via Silverlight Deep Zoom or JavaScript using a third-party template). No longer available for download from Microsoft though it can be found on various other sources such as Internet Archive. == iPhone OS development == Microsoft Live Labs has created an application for the App Store called Seadragon Mobile. It is run over the internet and includes Deep Zoom on the following categories; art, history, maps, photos, Photosynth which anybody can upload to, space and technology & web.
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No Fakes Act

The NO FAKES Act or the Nurture Originals, Foster Art, and Keep Entertainment Safe Act, is proposed United States federal legislation concerning digital replicas. The bill was first introduced in 2023 as a discussion draft, formally introduced in 2024, and reintroduced in 2025. If enacted, the bill would establish a federal right of publicity, giving public figures and private individuals greater control over the creation and use of digital replicas of their likenesses, including artificial intelligence (AI)-generated content. If passed, the NO FAKES Act would create a legal framework for licensing digital replicas, including provisions for liability, safe harbors, and statutory exceptions. The proposal has received broad support from the entertainment and technology industries. However, digital rights organizations have raised concerns that the Act risks chilling protected speech. == Background == === Entertainment industry concerns === Actors’ concerns over studios' use of their digital likeness were one of the primary drivers of the Screen Actors Guild–American Federation of Television and Radio Artists (SAG-AFTRA) strike in 2023. Negotiators for SAG-AFTRA alleged that the Alliance of Motion Picture and Television Producers (AMPTP) sought to use the digital likenesses of actors in perpetuity and would try to replace union members, especially background actors. The AMPTP denied SAG-AFTRA's interpretation of its proposal. In November 2023, AMPTP and SAG-AFTRA reached an agreement on the use of actors’ digital replicas, which included requirements for consent and compensation. Recording labels have also expressed concerns over unauthorized digital replicas of their performers' likeness. In 2023, TikTok user Ghostwriter977 released "Heart on My Sleeve," an AI-produced song in the styles of Drake and the Weeknd. After the song received millions of streams, the Universal Music Group (UMG) initiated takedown requests to TikTok and YouTube, which removed the song from their platforms. The legal arguments attorneys made were not disclosed; however, commentators noted that they likely used the Digital Millennium Copyright Act (DMCA). This presented a novel scenario, since UMG did not have licensing rights to "Heart on My Sleeve." According to The Verge, UMG based its DMCA takedown request on an unauthorized sample used at the start of the song for the producer tag. While legal commentators noted that UMG could have asserted a violation of the artists’ rights of publicity, existing state right of publicity laws do not provide notice-and-takedown mechanisms comparable to those under the DMCA. === Legal landscape === Legal scholars have observed that AI-generated digital replicas raise questions under existing copyright and intellectual property law. U.S. copyright law generally requires that original authorship be attributable to a human; however, the extent of human intervention needed to satisfy this requirement is not clear. Copyright holders have filed lawsuits against AI companies alleging unauthorized usage of copyrighted material to train their models, though many of these cases remain pending. In terms of outputs, record labels often hold rights to artists’ musical works but do not necessarily control the artists’ voice, appearance, or likeness in the same way. As a result, AI-generated recordings such as "Heart on My Sleeve" may fall outside the scope of certain traditional copyright protections. Individuals' likenesses have historically been governed under the Lanham Act, the Federal Trade Commission Act, and right of publicity laws. The right of publicity, recognized in many state-level statutes and common law, allows individuals to bring legal claims against unauthorized commercial use of their identities. It has often, but not exclusively, been applied to celebrities or other recognizable individuals. There is no federal-level right to publicity, and state-level protections vary, especially on issues relating to digital replicas and posthumous rights, which makes it difficult for creators or other individuals to prevent unauthorized use of their likenesses. In July 2024, the U.S. Copyright Office released a report on digital replicas and recommended that Congress create a federal law to protect individuals from unauthorized uses of their digital replicas, noting the inadequacy, narrowness, and inconsistency of existing laws. == Provisions == Under the NO FAKES Act of 2025, a digital replica is defined as "a newly created, computer-generated, highly realistic electronic representation that is readily identifiable as the voice or visual likeness of an individual," living or dead. A digital replica can be embodied in sound recordings, images, or audiovisual works in which the individual did not perform or in which the individual did perform but the "fundamental character of the performance or appearance has been materially altered." The Act specifies that digital replicas do not include reproduced samples of works authorized by the copyright holder. The Act defines a "right holder" as either the individual who is the subject of a digital replica or an entity that has acquired the rights to that individual’s likeness. The Act grants right holders the exclusive right to authorize the use of an individual’s likeness in a digital replica. This right is not assignable during the individual’s lifetime; however, it can be licensed to a living individual for up to 10 years under certain conditions. Postmortem rights The Act provides that the right does not automatically expire upon an individual’s death. It may be transferred to executors, heirs, or other parties designated by the individual. The right is held by the right holder for 10 years following the individual’s death. If the right holder demonstrates active use of the digital replica within the 2 years preceding the end of the 10-year term, the right may be extended for an additional 5-year period. These five-year extensions may be renewed for up to 70 years after the individual’s death. Liability The Act establishes liability for individuals who knowingly distribute a digital replica without authorization from the right holder, as well as for entities that make available a service primarily designed to produce unlawful digital replicas. Safe harbor provisions Similar to the Communications Decency Act and the DMCA, the Act establishes safe harbor provisions for online service providers. Providers are shielded from liability if they adopt and inform users of a policy for terminating accounts that repeatedly violate the Act. The NO FAKES Act does not require online services to proactively monitor content. Instead, it creates a notice-and-takedown mechanism under which providers must promptly respond to notifications seeking the removal of unauthorized digital replicas. These safe harbor protections apply only if the online service provider designates an agent with the U.S. Copyright Office to receive notifications of alleged violations. Remedies The NO FAKES Act provides remedies that are similar to those available under U.S. copyright law. Under the Act, individuals may be held liable for either statutory damages of $5,000 or actual damages for creating or distributing an unauthorized digital replica. The legislation also establishes a tiered liability framework for online service providers. Those that make good faith efforts to comply with the Act may face statutory damages of up to $25,000 per work for violations or actual damages. Providers that do not undertake such compliance efforts may be liable for $5,000 per unauthorized display or transmission of a digital replica, with damages capped at $750,000 per work. Exclusions The Act includes several exceptions to liability that are modeled in part on fair use principles. Digital replicas are excluded from liability when "used in a bona fide news, public affairs, or sports broadcast or account;" in a documentary or historical context; or in a way that is "consistent with the public interest." These exclusions do not apply to de minimis uses or to digital replicas that are sexually explicit in nature. The Act further states that licensing requirements do not apply to licenses established through collective bargaining agreements that contain provisions governing the use of digital replicas. The Act does not impose secondary liability on providers of generative artificial intelligence tools or services whose primary purpose is not the creation of unauthorized digital replicas. Preemption The NO FAKES Act preempts laws that protect "an individual's voice and visual likeness rights in connection with a digital replica, as defined in this Act, in an expressive work." However, the Act preserves state laws governing digital replicas enacted before January 2, 2025, as well as state laws addressing digital replicas that portray sexually explicit conduct. == History == In 2023, Senators Marsha Blackburn, Chris Coons, Amy Klobuchar, and Th
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Marco Camisani Calzolari

Marco Camisani Calzolari (born March 1969) is an Italian British university professor, author, and television personality specializing in digital communications, transformation, and artificial intelligence. He advises the Italian government and police on ethical AI and digital safety and hosts the digital segment of the Italian news show Striscia la Notizia. His research gained international attention in 2012 after creating an algorithm claiming to identify real Twitter users from fake users of bots. Marco Camisani Calzolari was awarded as an Honorary Police Officer by the Italian State Police and the Knight of the Italian Republic. == Biography == Camisani Calzolari was born in Milan, Italy where he began his television career, hosting on local provider LA7 in (2001). In 2008 Camisani Calzolari moved to the UK where he founded multiple digital start-ups. He is now a naturalised British citizen and applied to become a "Freeman of the City" in June 2022. In 2024, Marco Camisani Calzolari began serving as the Chair and Adjunct Professor of the elective course Cyber-Humanities within the Degree Programme in Medicine and Surgery at Università Vita-Salute S.Raffaele in Milan. On the 14th of May 2024, Camisani Calzolari was awarded the Knight of the Italian Republic (Order of the Star of Italy). In 2024, Marco Camisani Calzolari was awarded the title of Honorary Police Officer by the Italian State Police for his commitment to combating cybercrime and promoting digital security. He also received the Keynes Sraffa Award 2024 from the Italian Chamber of Commerce and Industry for the UK. Additionally, he was honored with the University Seal by Università degli Studi della Tuscia (Viterbo) for his efforts in disseminating knowledge both in Italy and abroad. == Academic career == Camisani Calzolari began his academic career at the Università Statale di Milano in 2007, until chairing a course on Corporate Communication and Digital Languages at the IULM University of Milan between 2007 and 2010. During this time Camisani Calzolari published his first written work under the title 'Impresa 4.0'. After moving to London, Camisani Calzolari focussed on digital start-ups including 'Digitalevaluation ltd' where he would publish the results of his Twitter algorithm study. Following its publication, he accepted a role as Affiliate Practitioner at the Centre for Culture Media & Regulation (CCMR), University of Brunel London, and subsequently another role at a British University as Lecturer in Digital Communication at the LCA Business School. Camisani Calzolari returned to Italy to lecture on Interactive Digital Communication at the University of Milan. From 2017 to 2023, he held various roles at the European University of Rome, including Adjunct Professor and Chair in Digital Communication, and published The Fake News Bible in 2018. In 2024 he became the Scientific Coordinator for a Master's program at Università San Raffaele in Milan. === Twitter fake followers study === In 2012, Camisani Calzolari's research came into the focus of the public eye following the publication of his findings in a study analysing the followers of high-profile public figures and corporations. He developed a computer algorithm claiming to be able to distinguish real followers from computer-generated "bots". The algorithm compiled data correlative of human activity such as having a name, image, physical address, using punctuation and cross-account activity. Genuine Twitter users were considered to have written at least 50 posts and possessed over 30 followers themselves. The findings led to scrutiny of several individuals and corporations for allegedly purchasing followers. === Publications === Camisani Calzolari is best for known for his work in improving accessibility to digital and tech solutions for everyday business and personal use. His work in digital and communications has been included in several publications including: Cyberhumanism (2023) The Fake News Bible (2018), First Digital Aid for Business (2015), The Digital World (2013), Escape from Facebook (2012), Enterprise 4.0. Camisani Calzolari was also the subject of a University College London (UCL) case study titled Marco Camisani-Calzolari: the Digital Renaissance Man. == Government work == Since 2023, he is a member of the Coordination Committee on Artificial Intelligence at the Presidency of the Council of Ministers and an advisor in Digital Skills and Designer of initiatives for the Department for Digital Transformation. He also serves as the official spokesperson for the State Police, educating the public on preventing digital threats, avoiding digital scams, and explaining criminal case. Since August 2024, Marco Camisani Calzolari has served as an expert for the Italian Agency for the National Cybersecurity (ACN). In October of the same year, he also became a member of the General-Purpose AI Code of Practice working group for the European Commission. == Television work == Camisani Calzolari hosts a digital segment for Striscia la Notizia, an Italian satirical television program on the Mediaset-controlled Canale 5. He presented on weekly segments that include: RAI 1 – Digital First Aid (TV Program – 2014 to 2017) in the program "Uno Mattina" as a digital expert; RTL 102.5 – Technology Space (Radio Program – 2012 to 2017) in the morning news program as a digital expert (100 episodes from 2012 to 2017); DIGITALK Talkshow (2004) as host of Digitalk; Misterweb (TV Program – 2001 to 2002), he presented the TV program “MisterWeb”, on "LA7". Marco Camisani Calzolari was a testimonial for several institutional communication campaigns by the Italian Department of Digital Transformation. These include initiatives promoting the Punti Digitale Facile, raising awareness about the NIS2 Directive for cybersecurity, and advocating for the adoption of the Electronic Identity Card (CIE).
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United States export controls on AI chips and semiconductors

United States export controls on AI chips and semiconductors are a series of regulations imposed by the United States restricting the export of technology and equipment related to artificial intelligence to other countries, primarily targeting China. This has happened in the context of a broader trade war. In January 2026, BIS formalized a flexible license review policy for these transactions.
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Game Jolt

Game Jolt is a social community platform for video games, gamers and content creators. Founded by Yaprak and David DeCarmine, it is available on iOS, Android, and on the web and as a desktop app for Windows and Linux. Users share interactive content through a variety of formats including images, videos, live streams, chat rooms, and virtual events. == Features == === Crowd streaming === In 2021 Game Jolt revealed their own live streaming feature called Firesides. Firesides allowed multiple users to simultaneously livestream together with nearly no delay. The feature launched with a virtual concert showcasing its ability to accommodate multiple streamers. On October 16, 2023, Firesides were removed from Game Jolt. === Mobile app === Game Jolt Social by Game Jolt Inc. launched on both the Apple App Store and Google Play Store in March 2022. "It's clear to us that Gen Z is tired of generic social media and they want a place specifically for gaming that supports all types of content they're creating–art, videos, thoughts, and livestreams all in one place." said Game Jolt founder and CEO Yaprak DeCarmine, in a statement to VentureBeat. === Game API === The Game Jolt Application Programming Interface (usually known as the Game Jolt Game API) allows any developer using a game development platform that supports HTTP operations and MD5 or SHA-1. Game Jolt advertises that the API can: Create multiple "scoreboards" which collect high scores from players made publicly available on the game's profile and give user accounts EXP Award player's trophies which give user accounts EXP Store game data on Game Jolt's data servers Log whether a user is currently playing a game they're logged into via the GJAPI == Game jams and competitions == Game Jolt regularly hosts game jams where participants are encouraged to develop games for a chance to win prizes. They hosted their first game jam in 2009, Shocking Contest. In November 2014, Game Jolt announced the "Indies vs PewDiePie" game jam, partnering with the popular YouTuber Felix "PewDiePie" Kjellberg. Developers were given a weekend (21–24 November) to create a game with the theme of "fun to play, fun to watch" to suit the Let's Plays entertainment style. Users could rate entries afterwards until December 1 when the scores were counted up. The prize to the top 10 rated games was Felix playing the games on his channel as a means of promotion for the developers, although later he played other entries. One of the participants of the jam, now known as Outerminds Inc. was discovered and hired by PewDiePie to develop his mobile game, Legend of the Brofist. Game Jolt partnered with Felix, Sean "Jacksepticeye" McLoughlin and Mark "Markiplier" Fischbach to host "Indies vs Gamers" in July 2015. The requirements for entries were arcade games using the Game Jolt Game API highscore tables, to be made between the July 17–20 and the top 5 games were played on the partner's YouTube channels. Following the "Indies vs PewDiePie" game jam in 2014, Game Jolt released their internal jam hosting tools public for all users to use as a service, to create their own game jams that integrated with the main site. Today, Game Jolt focuses on hosting and co-hosting game competitions with established brands in order to bring monetary and educational opportunities to their users. On April 15, 2024, an announcement was made about a collaboration with Pocket Worlds for the "HighRise Game Jam". Pocket Worlds had sold NFTs up until roughly 2022, causing a community outburst. The situation was addressed, and the situation started to disperse. == Contests == == Events == Game Jolt hosts both physical and virtual events to entertain and prank its users, which consists of the following: == History == Game Jolt has supported independent creators with a central platform to manage their content and communities since its start in 2003. David DeCarmine began development of Game Jolt at the age of 14 for a group of hobbyists, making games and sharing on forums in an early iteration known as Holo World. The original intention was to create a platform for gamers where new games could be discoverable and quickly playable, and where feedback could be provided directly to the creators, allowing them to continue improving their games. In 2008, Game Jolt was registered as an LLC, then incorporated as Game Jolt Inc. in September 2020. A new site launched in 2015 featuring a responsive design, automated curation for both games and game news articles which weighs how recent a game was uploaded and how popular it is ("hot") and filtering options on game listings for platform, maturity rating and development status. In March 2022, Game Jolt launched a mobile application simultaneously on the Google Play Store and Apple App Store targeted at Gen Z gamers and creators. While in beta, the mobile app had 100,000 installs pre-launch. === Game store === Game Jolt continues to host a large library of independent games. Game developers can upload their games directly to the site to share or sell. They would allow distribution for downloadable games, later adding support for Adobe Flash, Unity and Java games which allowed support for browser based games. In February 2013, Game Jolt built support for browser-based HTML5 games as well. A user levelling system was released into public beta in April 2013, incorporating the GJAPI trophies and highscores, as well as site activity, to generate 'EXP' (experience points). Game Jolt Jams released in early 2014 as a service to allow users to create their own game jams that integrated with the main site. In April 2016, an online marketplace was announced and released the following month with an exclusive set of game titles, including Bendy and the Ink Machine, allowing developers to sell their games on the site. In January 2016, Game Jolt released source code of the client and site's front end on GitHub under MIT license. In January 2022, Game Jolt banned adult games from appearing on the site, stating in an email to developers that the site had become a "social media platform" and they "had to make decisions around the direction and future of the brand which has now included the removal of hosted games with explicitly adult content." In response to a tweet by Itch.io saying the site is not for prudes, they wrote in their own tweet: "Game Jolt is a platform with a large audience of 13-16 year olds. Our users asked us to clean up, so here we are." == Investments == After bootstrapping Game Jolt with revenue earned from ads on the website for years, the DeCarmines secured venture capital in 2020 from SoftBank, doing so again in 2021 from founders of Twitch, Rec Room, Modio and more.
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Shakey the robot

Shakey the Robot was the first general-purpose mobile robot able to reason about its own actions. While other robots would have to be instructed on each individual step of completing a larger task, Shakey could analyze commands and break them down into basic chunks by itself. Due to its nature, the project combined research in robotics, computer vision, and natural language processing. Because of this, it was the first project that melded logical reasoning and physical action. Shakey was developed at the Artificial Intelligence Center of Stanford Research Institute (now called SRI International). Some of the most notable results of the project include the A search algorithm, the Hough transform, and the visibility graph method. == History == Shakey was developed from approximately 1966 through 1972 with Charles Rosen, Nils Nilsson and Peter Hart as project managers. Other major contributors included Alfred Brain, Sven Wahlstrom, Bertram Raphael, Richard Duda, Richard Fikes, Thomas Garvey, Helen Chan Wolf and Michael Wilber. The project was funded by the Defense Advanced Research Projects Agency (DARPA) based on a SRI proposal submitted in April 1964 for research in "Intelligent Automata", later "Intelligent Automata to Reconnaissance". It was originally designed to have two retractable arms. Now retired from active duty, Shakey is currently on view in a glass display case at the Computer History Museum in Mountain View, California. The project inspired numerous other robotics projects, most notably the Centibots. == Software == The robot's programming was primarily done in LISP. The Stanford Research Institute Problem Solver (STRIPS) planner it used was conceived as the main planning component for the software it utilized. As the first robot that was a logical, goal-based agent, Shakey experienced a limited world. A version of Shakey's world could contain a number of rooms connected by corridors, with doors and light switches available for the robot to interact with. Shakey had a short list of available actions within its planner. These actions involved traveling from one location to another, turning the light switches on and off, opening and closing the doors, climbing up and down from rigid objects, and pushing movable objects around. The STRIPS automated planner could devise a plan to enact all the available actions, even though Shakey himself did not have the capability to execute all the actions within the plan personally. An example mission for Shakey might be something like, an operator types the command "push the block off the platform" at a computer console. Shakey looks around, identifies a platform with a block on it, and locates a ramp in order to reach the platform. Shakey then pushes the ramp over to the platform, rolls up the ramp onto the platform, and pushes the block off the platform. == Hardware == Physically, the robot was particularly tall, and had an antenna for a radio link, sonar range finders, a television camera, on-board processors, and collision detection sensors ("bump detectors"). The robot's tall stature and tendency to shake resulted in its name: We worked for a month trying to find a good name for it, ranging from Greek names to whatnot, and then one of us said, 'Hey, it shakes like hell and moves around, let’s just call it Shakey.' == Research results == The development of Shakey provided far-reaching impact on the fields of robotics and artificial intelligence, as well as computer science in general. Some of the more notable results include the development of the A search algorithm, which is widely used in pathfinding and graph traversal, the process of plotting an efficiently traversable path between points; the Hough transform, which is a feature extraction technique used in image analysis, computer vision, and digital image processing; and the visibility graph method for finding Euclidean shortest paths among obstacles in the plane. == Media and awards == In 1969 the SRI published "SHAKEY: Experimentation in Robot Learning and Planning", a 24-minute video. The project then received media attention. This included an article in the New York Times on April 10, 1969. In 1970, Life referred to Shakey as the "first electronic person"; and in November 1970 National Geographic Magazine covered Shakey and the future of computers. The Association for the Advancement of Artificial Intelligence's AI Video Competition's awards are named "Shakeys" because of the significant impact of the 1969 video. Shakey was inducted into Carnegie Mellon University's Robot Hall of Fame in 2004 alongside such notables as ASIMO and C-3PO. Shakey has been honored with an IEEE Milestone in Electrical Engineering and Computing. Shakey was showcased in the BBC's Towards Tomorrow: Robot (1967) documentary.
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Computer game bot Turing test

The computer game bot Turing test is a variant of the Turing test, where a human judge viewing and interacting with a virtual world must distinguish between other humans and video game bots, both interacting with the same virtual world. This variant was first proposed in 2008 by Associate Professor Philip Hingston of Edith Cowan University, and implemented through a tournament called the 2K BotPrize. == History == The computer game bot Turing test was proposed to advance the fields of artificial intelligence (AI) and computational intelligence with respect to video games. It was considered that a poorly implemented bot implied a subpar game, so a bot that would be capable of passing this test, and therefore might be indistinguishable from a human player, would directly improve the quality of a game. It also served to debunk a flawed notion that "game AI is a solved problem." Emphasis is placed on a game bot that interacts with other players in a multiplayer environment. Unlike a bot that simply needs to make optimal human-like decisions to play or beat a game, this bot must make the same decisions while also convincing another in-game player of its human-likeness. == Implementation == The computer game bot Turing test was designed to test a bot's ability to interact with a game environment in comparison with a human player; simply 'winning' was insufficient. This evolved into a contest with a few important goals in mind: There are three participants: a human player, a computer-game bot, and a judge. The bot needs to appear more human-like than the human player. Judge scores are not bipolar — both human and bot can be scored anywhere on a scale from 1 to 5 (1=not humanlike, 5=human). All three participants are to be indistinguishable in the arena, with the exception of a randomly generated name tag, so as to reduce the chance of random elements such as name or appearance influencing the judges. Chat is disabled throughout the match. Bots were not given omniscient powers as they may be in other games. Bots must react only to the data that might be reasonably available to a human player. Human participants were of a moderate skill range, with no participant either ignorant to the game or capable of playing at a professional level. In 2008, the first 2K BotPrize tournament took place. The contest was held with the game Unreal Tournament 2004 as the platform. Contestants created their bots in advance using the GameBots interface. GameBots had some modifications made so as to adhere to the above conditions, such as removing data about vantage points or weapon damage that unfairly informed the bots of relevant strengths/weaknesses that a human would otherwise need to learn. == Tournament == The first BotPrize Tournament was held on 17 December 2008, as part of the 2008 IEEE Symposium on Computational Intelligence and Games in Australia. Each competing team was given time to set up and adjust their bots to the modified game client, although no coding changes were allowed at that point. The tournament was run in rounds, each a 10-minute death match. Judges were the last to join the server and every judge observed every player and every bot exactly once, although the pairing of players and bots did change. When the tournament ended, no bot was rated as more human than any player. In subsequent tournaments, run during 2009–2011, bots achieved scores that were increasingly human-like, but no contestant had won the BotPrize in any of these contests. In 2012, the 2K BotPrize was held once again, and two teams programmed bots that achieved scores greater than those of human players. == Successful bots == To date, there have been two successfully programmed bots that passed the computer game bot Turing test: UT^2, a team from the University of Texas at Austin, emphasized a bot that adjusted its behaviour based on previously observed human behaviour and neuroevolution. The team has made their bot available, although a copy of Unreal Tournament 2004 is required. Mihai Polceanu, a doctoral student from Romania, focused on creating a bot that would mimic opponent reactions, in a sense 'borrowing' the human-like nature of the opponent. These victors succeeded in the year 2012, Alan Turing's centenary year. == Aftermath == The outcome of a bot that appears more human-like than a human player is possibly overstated, since in the tournament in which the bots succeeded, the average 'humanness' rating of the human players was only 41.4%. This showcases some limits of this Turing test, since the results demonstrate that human behaviour is more complicated and quantitative than was accounted for. In light of this, the BotPrize competition organizers will increase the difficulty in upcoming years with new challenges, forcing competitors to improve their bots. It is also believed that methods and techniques developed for the computer game bot Turing test will be useful in fields other than video games, such as virtual training environments and in improving Human–robot interaction. == Contrasts to the Turing test == The computer game bot Turing test differs from the traditional or generic Turing test in a number of ways: Unlike the traditional Turing test, for example the Chatterbot-style contest held annually by the Loebner Prize competition, the humans who played against the Computer Game Bots are not trying to convince judges they are the human; rather, they want to win the game (i.e., by achieving the highest kill score). Judges are not restricted to awarding only one participant in a match as the 'human' and the other as the 'non-human.' This emphasizes more qualitative rather than polarized findings. With regards to a successful video game bot, this is not to be confused with a claim that the bot is 'intelligent,' whereas a machine that 'passed' the Turing test would arguably have some evidence for its Chatterbot's 'intelligence.' The game Unreal Tournament 2004 was chosen for its commercial availability and its interface for creating bots, GameBots. This limitation on medium is a sharp contrast to the Turing test, which emphasizes a conversation, where possible questions are vastly more numerous than the set of possible actions available in any specific video game. The available information to the participants, humans and bots, is not equal. Humans interact through vision and sound, whereas bots interact with data and events. The judges cannot introduce new events (e.g., a lava pit) to aid in differentiating between human and bot, whereas in a Chatterbot designed system, judges may theoretically ask any question in any manner. The two participants and the judge take part in a three-way interaction, unlike, for example, the paired two-way interaction of the Loebner Prize Contest.
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Linguistic value

In artificial intelligence, fuzzy logic operations research, and related fields, a linguistic value is a natural language term which is derived using quantitative or qualitative reasoning such as with probability and statistics or fuzzy sets and systems. Variables that take linguistic values are called linguistic variables. == Examples of linguistic variables and values == For example, "age" may be a linguistic variable if its values are not numerical, e.g. very young, quite young, not young, old, not very old etc. These values could be derived from the numeric values for age. As another example, if a shuttle heat shield is deemed of having a linguistic value of a "very low" percentage of damage in re-entry, based upon knowledge from experts in the field, that probability would be given a value of say, 5%. From there on out, if it were to be used in an equation, the variable of percentage of damage will be at 5% if it deemed very low percentage.
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Big data

Big data primarily refers to data sets that are too large or complex to be dealt with by traditional data-processing software. Data with many entries (rows) offers greater statistical power, while data with higher complexity (more attributes or columns) may lead to a higher false discovery rate. Big data analysis challenges include capturing data, data storage, data analysis, search, sharing, transfer, visualization, querying, updating, information privacy, and data sources. Big data was originally associated with three key concepts: volume, variety, and velocity. The analysis of big data that have only volume, velocity, and variety can pose challenges in sampling. A fourth concept, veracity, which refers to the level of reliability of data, was thus added. Without sufficient investment in expertise to ensure big data veracity, the volume and variety of data can produce costs and risks that exceed an organization's capacity to create and capture value from big data. Current usage of the term big data tends to refer to the use of predictive analytics, user behavior analytics, or certain other advanced data analytics methods that extract value from big data, and seldom to a particular size of data set. "There is little doubt that the quantities of data now available are indeed large, but that's not the most relevant characteristic of this new data ecosystem." Analysis of data sets can find new correlations to "spot business trends, prevent diseases, combat crime and so on". Scientists, business executives, medical practitioners, advertising and governments alike regularly meet difficulties with large datasets in areas including Internet searches, fintech, healthcare analytics, geographic information systems, urban informatics, and business informatics. Scientists encounter limitations in e-Science work, including meteorology, genomics, connectomics, complex physics simulations, biology, and environmental research. The size and number of available data sets have grown rapidly as data is collected by devices such as mobile devices, cheap and numerous information-sensing Internet of things devices, aerial (remote sensing) equipment, software logs, cameras, microphones, radio-frequency identification (RFID) readers and wireless sensor networks. The world's technological per-capita capacity to store information has roughly doubled every 40 months since the 1980s; as of 2012, every day 2.5 exabytes (2.17×260 bytes) of data are generated. Based on an IDC report prediction, the global data volume was predicted to grow exponentially from 4.4 zettabytes to 44 zettabytes between 2013 and 2020. By 2025, IDC predicts there will be 163 zettabytes of data. According to IDC, global spending on big data and business analytics (BDA) solutions is estimated to reach $215.7 billion in 2021. Statista reported that the global big data market is forecasted to grow to $103 billion by 2027. In 2011 McKinsey & Company reported, if US healthcare were to use big data creatively and effectively to drive efficiency and quality, the sector could create more than $300 billion in value every year. In the developed economies of Europe, government administrators could save more than €100 billion ($149 billion) in operational efficiency improvements alone by using big data. And users of services enabled by personal-location data could capture $600 billion in consumer surplus. One question for large enterprises is determining who should own big-data initiatives that affect the entire organization. Relational database management systems and desktop statistical software packages used to visualize data often have difficulty processing and analyzing big data. The processing and analysis of big data may require "massively parallel software running on tens, hundreds, or even thousands of servers". What qualifies as "big data" varies depending on the capabilities of those analyzing it and their tools. Furthermore, expanding capabilities make big data a moving target. "For some organizations, facing hundreds of gigabytes of data for the first time may trigger a need to reconsider data management options. For others, it may take tens or hundreds of terabytes before data size becomes a significant consideration." == Definition == The term big data has been in use since the 1990s, with some giving credit to John Mashey for popularizing the term. Big data usually includes data sets with sizes beyond the ability of commonly used software tools to capture, curate, manage, and process data within a tolerable elapsed time. Big data philosophy encompasses unstructured, semi-structured and structured data; however, the main focus is on unstructured data. Big data "size" is a constantly moving target; as of 2012 ranging from a few dozen terabytes to many zettabytes of data. Big data requires a set of techniques and technologies with new forms of integration to reveal insights from datasets that are diverse, complex, and of a massive scale. Variability is often included as an additional quality of big data. A 2018 definition states "Big data is where parallel computing tools are needed to handle data", and notes, "This represents a distinct and clearly defined change in the computer science used, via parallel programming theories, and losses of some of the guarantees and capabilities made by Codd's relational model." In a comparative study of big datasets, Kitchin and McArdle found that none of the commonly considered characteristics of big data appear consistently across all of the analyzed cases. For this reason, other studies identified the redefinition of power dynamics in knowledge discovery as the defining trait. Instead of focusing on the intrinsic characteristics of big data, this alternative perspective pushes forward a relational understanding of the object claiming that what matters is the way in which data is collected, stored, made available and analyzed. === Big data vs. business intelligence === The growing maturity of the concept more starkly delineates the difference between "big data" and "business intelligence": Business intelligence uses applied mathematics tools and descriptive statistics with data with high information density to measure things, detect trends, etc. Big data uses mathematical analysis, optimization, inductive statistics, and concepts from nonlinear system identification to infer laws (regressions, nonlinear relationships, and causal effects) from large sets of data with low information density to reveal relationships and dependencies, or to perform predictions of outcomes and behaviors. == Characteristics == Big data can be described by the following characteristics: Volume The quantity of generated and stored data. The size of the data determines the value and potential insight, and whether it can be considered big data or not. The size of big data is usually larger than terabytes and petabytes. Variety The type and nature of the data. Earlier technologies like RDBMSs were capable to handle structured data efficiently and effectively. However, the change in type and nature from structured to semi-structured or unstructured challenged the existing tools and technologies. Big data technologies evolved with the prime intention to capture, store, and process the semi-structured and unstructured (variety) data generated with high speed (velocity), and huge in size (volume). Later, these tools and technologies were explored and used for handling structured data also but preferable for storage. Eventually, the processing of structured data was still kept as optional, either using big data or traditional RDBMSs. This helps in analyzing data towards effective usage of the hidden insights exposed from the data collected via social media, log files, sensors, etc. Big data draws from text, images, audio, video; plus it completes missing pieces through data fusion. Velocity The speed at which the data is generated and processed to meet the demands and challenges that lie in the path of growth and development. Big data is often available in real-time. Compared to small data, big data is produced more continually. Two kinds of velocity related to big data are the frequency of generation and the frequency of handling, recording, and publishing. Veracity The truthfulness or reliability of the data, which refers to the data quality and the data value. Big data must not only be large in size, but also must be reliable in order to achieve value in the analysis of it. The data quality of captured data can vary greatly, affecting an accurate analysis. Value The worth in information that can be achieved by the processing and analysis of large datasets. Value also can be measured by an assessment of the other qualities of big data. Value may also represent the profitability of information that is retrieved from the analysis of big data. Variability The characteristic of the changing formats, structure, or sources of big data. Big data can include structured, unstructured,
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AI Dungeon

AI Dungeon is a single-player/multiplayer text adventure game which uses artificial intelligence (AI) to generate content and allows players to create and share adventures and custom prompts. The game's first version was made available in May 2019, and its second version (initially called AI Dungeon 2) was released on Google Colaboratory in December 2019. It was later ported that same month to its current cross-platform web application. The AI model was then reformed in July 2020. == Gameplay == AI Dungeon is a text adventure game that uses artificial intelligence to generate random storylines in response to player-submitted stimuli. In the game, players are prompted to choose a setting for their adventure (e.g. fantasy, mystery, apocalyptic, cyberpunk, zombies), followed by other options relevant to the setting (such as character class for fantasy settings). After beginning an adventure, four main interaction methods can be chosen for the player's text input: Do: Must be followed by a verb, allowing the player to perform an action. Say: Must be followed by dialogue sentences, allowing players to communicate with other characters. Story: Can be followed by sentences describing something that happens to progress the story, or that players want the AI to know for future events. See: Must be followed by a description, allowing the player to perceive events, objects, or characters. Using this command creates an AI generated image, and does not affect gameplay. The game adapts and responds to most actions the player enters. Providing blank inputs can be used to prompt the AI to generate further content, and the game also provides players with options to undo or redo or modify recent events to improve the game's narrative. Players can also tell the AI what elements to "remember" for reference in future parts of their playthrough. === User-generated content === In addition to AI Dungeon's pre-configured settings, players can create custom "adventures" from scratch by describing the setting in text format, which the AI will then generate a setting from. These custom adventures can be published for others to play, with an interface for browsing published adventures and leaving comments under them. === Multiplayer === AI Dungeon includes a multiplayer mode in which different players each have their own character and take turns interacting with the AI within the same game session. Multiplayer supports both online play across multiple devices or local play using a shared device. The game's hosts are able to supervise the AI and modify its output. Unlike the single-player game, in which actions and stories use second person narration, multiplayer game stories are presented using third-person narration. === Worlds === AI Dungeon allows players to set their adventures within specific "Worlds" that give context to the broader environment where the adventure takes place. This feature was first released with two different worlds available for selection: Xaxas, a "world of peace and prosperity"; and Kedar, a "world of dragons, demons, and monsters". == Development == === AI Dungeon Classic (Early GPT-2) === The first version of AI Dungeon (sometimes referred to as AI Dungeon Classic) was designed and created by Nick Walton of Brigham Young University's "Perception, Control, and Cognition" deep learning laboratory in March 2019 during a hackathon. Before this, Walton had been working as an intern for several companies in the field of autonomous vehicles. This creation used an early version of the GPT-2 natural-language-generating neural network, created by OpenAI, allowing it to generate its original adventure narratives. During his first interactions with GPT-2, Walton was partly inspired by the tabletop game Dungeons & Dragons (D&D), which he had played for the first time with his family a few months earlier: I realized that there were no games available that gave you the same freedom to do anything that I found in [Dungeons & Dragons] ... You can be so creative compared to other games. This led him to wonder if an AI could function as a dungeon master. Unlike later versions of AI Dungeon, the original did not allow players to specify any action they wanted. Instead, it generated a finite list of possible actions to choose from. This first version of the game was released to the public in May 2019. It is not to be confused with another GPT-2-based adventure game, GPT Adventure, created by Northwestern University neuroscience postgraduate student Nathan Whitmore, also released on Google Colab several months after the public release of AI Dungeon. === AI Dungeon 2 (Full GPT-2) === In November 2019, a new, "full" version of GPT-2 was released by OpenAI. This new model included support for 1.5 billion parameters (which determine the accuracy with which a machine learning model can perform a task), compared with the 126 million parameter version used in the earliest stages of AI Dungeon's development. The game was recreated by Walton, leveraging this new version of the model, and temporarily rebranded as AI Dungeon 2. AI Dungeon 2's AI was given more focused training compared to its predecessor, using genre-specific text. This training material included approximately 30 megabytes of content web-scraped from chooseyourstory.com (an online community website of content inspired by interactive gamebooks, written by contributors of multiple skill levels, using logic of differing complexity) and multiple D&D rulebooks and adventures. The new version was released in December 2019 as open-source software available on GitHub. It was accessible via Google Colab, an online tool for data scientists and AI researchers that allows for free execution of code on Google-hosted machines. It could also be run locally on a PC, but in both cases, it required players to download the full model, around 5 gigabytes of data. Within days of the initial release, this mandatory download resulted in bandwidth charges of over $20,000, forcing the temporary shut-down of the game until a peer-to-peer alternative solution was established. Due to the game's sudden and explosive growth that same month, however, it became closed-source, proprietary software and was relaunched by Walton's start-up development team, Latitude (with Walton taking on the role of CTO). This relaunch constituted mobile apps for iOS and Android (built by app developer Braydon Batungbacal) on December 17. Other members of this team included Thorsten Kreutz for the game's long-term strategy and the creator's brother, Alan Walton, for hosting infrastructure. At this time, Nick Walton also established a Patreon campaign to support the game's further growth (such as the addition of multiplayer and voice support, along with longer-term plans to include music and image content) and turn the game into a commercial endeavor, which Walton felt was necessary to cover the costs of delivering a higher-quality version of the game. AI Dungeon was one of the only known commercial applications to be based upon GPT-2. Following its first announcement in December 2019, a multiplayer mode was added to the game in April 2020. Hosting a game in this mode was originally restricted to premium subscribers, although any players could join a hosted game. === Dragon model release (GPT-3) === In July 2020, the developers introduced a premium-exclusive version of the AI model, named Dragon, which uses OpenAI's API for leveraging the GPT-3 model without maintaining a local copy (released on June 11, 2020). GPT-3 was trained with 570 gigabytes of text content (approximately one trillion words, with a $12 million development cost) and can support 175 billion parameters, compared to the 40 gigabytes of training content and 1.5 billion parameters of GPT-2. The free model was also upgraded to a less-advanced version of GPT-3 and was named Griffin. Speaking shortly after this release, on the differences between GPT-2 and GPT-3, Walton stated: [GPT-3 is] one of the most powerful AI models in the world... It's just much more coherent in terms of understanding who the characters are, what they're saying, what's going on in the story and just being able to write an interesting and believable story. In the latter half of 2020, the "Worlds" feature was added to AI Dungeon, providing players with a selection of overarching worlds in which their adventures can take place. In February 2021, it was announced that AI Dungeon's developers, Latitude, had raised $3.3 million in seed funding (led by NFX, with participation from Album VC and Griffin Gaming Partners) to "build games with 'infinite' story possibilities." This funding intended to move AI content creation beyond the purely text-based nature of AI Dungeon as it existed at the time. After its announcement on August 20, a new "See" interaction mode was made available for all players and added to the game on August 30, 2022. AI Dungeon was retired from Steam on March 12, 2024. == Reception == Approximate
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Johns Hopkins Beast

The Johns Hopkins Beast was a mobile automaton, an early pre-robot, built in the 1960s at the Johns Hopkins University Applied Physics Laboratory. The machine had a rudimentary intelligence and the ability to survive on its own. As it wandered through the white halls of the laboratory, it would seek black wall outlets. When it found one it would plug in and recharge. The robot was cybernetic. It did not use a computer. Its control circuitry consisted of dozens of transistors controlling analog voltages. It used photocell optics and sonar to navigate. The 2N404 transistors were used to create NOR logic gates that implemented the Boolean logic to tell it what to do when a specific sensor was activated. The 2N404 transistors were also used to create timing gates to tell it how long to do something. 2N1040 Power transistors were used to control the power to the motion treads, the boom, and the charging mechanism. The original sensors in Mod I were physical touch only. The wall socket was detected by physical switches on the arm that followed the wall. Once detected, two electrical prongs were extended until they entered the wall socket and made the electrical connection to charge the vehicle. The stairway, doors, and pipes on the hall wall were also detected by physical switches and recognized by appropriate logic. The sonar guidance system was developed for Mod I and improved for Mod II. It used two ultrasonic transducers to determine distance, location within the halls, and obstructions in its path. This provided "The Beast" with bat-like guidance. At this point, it could detect obstructions in the hallway, such as people. Once an obstruction was detected, the Beast would slow down and then decide whether to stop or divert around the obstruction. It could also ultrasonically recognize the stairway and doorways to take appropriate action. An optical guidance system was added to Mod II. This provided, among other capabilities, the ability to optically identify the black wall sockets that contrasted with the white wall. The Hopkins Beast Autonomous Robot Mod II link below was written by Dr. Ronald McConnell, at that time a co-op student and one of the designers for Mod II.
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Buddhism and artificial intelligence

The relationship between Buddhist philosophy and artificial intelligence (AI) includes how principles such as the reduction of suffering and ethical responsibility may influence AI development. Buddhist scholars and philosophers have explored questions such as whether AI systems could be considered sentient beings under Buddhist definitions, and how Buddhist ethics might guide the design and application of AI technologies. Some Buddhist scholars, including Somparn Promta and Kenneth Einar Himma, have analyzed the ethical implications of AI, emphasizing the distinction between satisfying sensory desires and pursuing the reduction of suffering. Other thinkers, such as Thomas Doctor and colleagues, have proposed applying the Bodhisattva vow—a commitment to alleviate suffering for all sentient beings—as a guiding principle for AI system design. Buddhist scholars and ethicists have examined Buddhist ethical principles, such as nonviolence, in relation to AI, focusing on the need to ensure that AI technologies are not used to cause harm. == Context == === Sentient beings === A major goal in Buddhist philosophy is the removal of suffering for all sentient beings, an aspiration often referred to in the Bodhisattva vow. Discussions about artificial intelligence (AI) in relation to Buddhist principles have raised questions about whether artificial systems could be considered sentient beings or how such systems might be developed in ways that align with Buddhist concepts. Buddhists have varying opinions about AI sentience, but if AI systems are determined to be sentient under Buddhist definitions, their suffering would also need to be addressed and alleviated in accordance with the principles of Buddhist thought. == Buddhist principles in AI system design == === Nonviolence and AI === The broadest ethical concern is that artificial intelligence should align with the Buddhist principle of nonviolence. From this perspective, AI systems should not be designed or used to cause harm. === Instrumental and transcendental goals === Scholars Somparn Promta and Kenneth Einar Himma have argued that the advancement of artificial intelligence can only be considered instrumentally good, rather than good a priori, from a Buddhist perspective. They propose two main goals for AI designers and developers: to set ethical and pragmatic objectives for AI systems, and to fulfill these objectives in morally permissible ways. Promta and Himma identify two potential purposes for creating AI systems. The first is to fulfill our sensory desires and survival instincts, similar to other tools. They suggest that many AI developers implicitly prioritize this goal by focusing on technicalities rather than broader functionalities. The second, and more important goal according to Buddhist teachings, is to transcend these desires and instincts. In texts like the Brahmajāla Sutta and minor Malunkya Sutta, the Buddha emphasizes that sensory desires and survival instincts confine beings to suffering, and that eliminating suffering is the primary goal of human life. Promta and Himma argue that AI has the potential to assist humanity in transcending suffering by helping individuals overcome survival-driven instincts. === Intelligence as care === Thomas Doctor, Olaf Witkowski, Elizaveta Solomonova, Bill Duane, and Michael Levin propose redefining intelligence through the concept of "intelligence as care," and promote it as a slogan. Inspired by the Bodhisattva vow, they suggest this principle could guide AI system design. The Bodhisattva vow involves a formal commitment to alleviate suffering for all sentient beings, with four primary objectives: Liberating all beings from suffering. Extirpating all forms of suffering. Mastering endless techniques of practicing Dharma (Pali: dhammakkhandha, Sanskrit: dharmaskandha). Achieving ultimate enlightenment (Sanskrit: अनुत्तर सम्यक् सम्बोधि, Romanized: anuttara-samyak-saṃbodhi). This approach positions AI as a tool for exercising infinite care and alleviating stress and suffering for sentient beings. Doctor et al. emphasize that AI development should align with these altruistic principles.
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Sentence embedding

In natural language processing, a sentence embedding is a representation of a sentence as a vector of numbers which encodes meaningful semantic information. State of the art embeddings are based on the learned hidden layer representation of dedicated sentence transformer models. BERT pioneered an approach involving the use of a dedicated [CLS] token prepended to the beginning of each sentence inputted into the model; the final hidden state vector of this token encodes information about the sentence and can be fine-tuned for use in sentence classification tasks. In practice however, BERT's sentence embedding with the [CLS] token achieves poor performance, often worse than simply averaging non-contextual word embeddings. SBERT later achieved superior sentence embedding performance by fine tuning BERT's [CLS] token embeddings through the usage of a siamese neural network architecture on the SNLI dataset. Other approaches are loosely based on the idea of distributional semantics applied to sentences. Skip-Thought trains an encoder-decoder structure for the task of neighboring sentences predictions; this has been shown to achieve worse performance than approaches such as InferSent or SBERT. An alternative direction is to aggregate word embeddings, such as those returned by Word2vec, into sentence embeddings. The most straightforward approach is to simply compute the average of word vectors, known as continuous bag-of-words (CBOW). However, more elaborate solutions based on word vector quantization have also been proposed. One such approach is the vector of locally aggregated word embeddings (VLAWE), which demonstrated performance improvements in downstream text classification tasks. == Applications == In recent years, sentence embedding has seen a growing level of interest due to its applications in natural language queryable knowledge bases through the usage of vector indexing for semantic search. LangChain for instance utilizes sentence transformers for purposes of indexing documents. In particular, an indexing is generated by generating embeddings for chunks of documents and storing (document chunk, embedding) tuples. Then given a query in natural language, the embedding for the query can be generated. A top k similarity search algorithm is then used between the query embedding and the document chunk embeddings to retrieve the most relevant document chunks as context information for question answering tasks. This approach is also known formally as retrieval-augmented generation. Though not as predominant as BERTScore, sentence embeddings are commonly used for sentence similarity evaluation which sees common use for the task of optimizing a Large language model's generation parameters is often performed via comparing candidate sentences against reference sentences. By using the cosine-similarity of the sentence embeddings of candidate and reference sentences as the evaluation function, a grid-search algorithm can be utilized to automate hyperparameter optimization. == Evaluation == A way of testing sentence encodings is to apply them on Sentences Involving Compositional Knowledge (SICK) corpus for both entailment (SICK-E) and relatedness (SICK-R). In the best results are obtained using a BiLSTM network trained on the Stanford Natural Language Inference (SNLI) Corpus. The Pearson correlation coefficient for SICK-R is 0.885 and the result for SICK-E is 86.3. A slight improvement over previous scores is presented in: SICK-R: 0.888 and SICK-E: 87.8 using a concatenation of bidirectional Gated recurrent unit.
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Group concept mapping

Group concept mapping is a structured methodology for organizing the ideas of a group on any topic of interest and representing those ideas visually in a series of interrelated maps. It is a type of integrative mixed method, combining qualitative and quantitative approaches to data collection and analysis. Group concept mapping allows for a collaborative group process with groups of any size, including a broad and diverse array of participants. Since its development in the late 1980s by William M.K. Trochim at Cornell University, it has been applied to various fields and contexts, including community and public health, social work, health care, human services,, instructional interventions, and biomedical research and evaluation. == Overview == Group concept mapping integrates qualitative group processes with multivariate analysis to help a group organize and visually represent its ideas on any topic of interest through a series of related maps. It combines the ideas of diverse participants to show what the group thinks and values in relation to the specific topic of interest. It is a type of structured conceptualization used by groups to develop a conceptual framework, often to help guide evaluation and planning efforts. Group concept mapping is participatory in nature, allowing participants to have an equal voice and to contribute through various methods. A group concept map visually represents all the ideas of a group and how they relate to each other, and depending on the scale, which ideas are more relevant, important, or feasible. == Process == Group concept mapping involves a structured multi-step process, including brainstorming, sorting and rating, multidimensional scaling and cluster analysis, and the generation and interpretation of multiple maps. The first step requires participants to brainstorm a large set of statements relevant to the topic of interest, usually in response to a focus prompt. Participants are then asked to individually sort those statements into categories based on their perceived similarity and rate each statement on one or more scales, such as importance or feasibility. The data is then analyzed using The Concept System software, which creates a series of interrelated maps using multidimensional scaling (MDS) of the sort data, hierarchical clustering of the MDS coordinates applying Ward's method, and the computation of average ratings for each statement and cluster of statements. The resulting maps display the individual statements in two-dimensional space with more similar statements located closer to each other, and grouped into clusters that partition the space on the map. The Concept System software also creates other maps that show the statements in each cluster rated on one or more scales, and absolute or relative cluster ratings between two cluster sets. As a last step in the process, participants are led through a structured interpretation session to better understand and label all the maps. == History == Group concept mapping was developed as a methodology in the late 1980s by William M.K. Trochim at Cornell University. Trochim is considered to be a leading evaluation expert, and he has taught evaluation and research methods at Cornell since 1980. Originally called "concept mapping", the methodology has evolved since its inception with the maturation of the field and the continued advancement of the software, which is now a Web application. == Uses == Group concept mapping can be used with any group for any topic of interest. It is often used by government agencies, academic institutions, national associations, not-for-profit and community-based organizations, and private businesses to help turn the ideas of the group into measurable actions. This includes in the areas of organizational development, strategic planning, needs assessment, curriculum development, research, and evaluation. Group concept mapping is well-documented, well-established methodology, and it has been used in hundreds of published papers. == Versus concept mapping and mind mapping == More generally, concept mapping is any process used for visually representing relationships between ideas in pictures or diagrams. A concept map is typically a diagram of multiple ideas, often represented as boxes or circles, linked in a graph (network) structure through arrows and words where each idea is connected to another. The technique was originally developed in the 1970s by Joseph D. Novak at Cornell University. Concept mapping may be done by an individual or a group. A mind map is a diagram used to visually represent information, centering on one word or idea with categories and sub-categories radiating off of it in a tree structure. Popularized by Tony Buzan in the 1970s, mind mapping is often a spontaneous exercise done by an individual or group to gather information about what they think around a single topic. Unlike Novak's concept maps and Buzan's mind maps, group concept mapping has a structured mathematical process (sorting and rating, multidimensional scaling and cluster analysis) for organizing and visually representing multiple ideas of a group through a series of specific steps. In other words, in group concept mapping, the resulting visual representations are mathematically generated from mixed (qualitative and quantitative) data collected from a group of research subjects, whereas in Novak's concept maps and Buzan's mind maps the visual representations are drawn directly by the subjects resulting in diagrams that are qualitative data and final product at the same time.
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Computational creativity

Computational creativity (also known as artificial creativity, mechanical creativity, creative computing or creative computation) is a multidisciplinary endeavour that is located at the intersection of the fields of artificial intelligence, cognitive psychology, philosophy, and the arts (e.g., computational art as part of computational culture). Is the application of computer systems to emulate human-like creative processes, facilitating the generation of artistic and design outputs that mimic innovation and originality. The goal of computational creativity is to model, simulate or replicate creativity using a computer, to achieve one of several ends: To construct a program or computer capable of human-level creativity. To better understand human creativity and to formulate an algorithmic perspective on creative behavior in humans. To design programs that can enhance human creativity without necessarily being creative themselves. The field of computational creativity concerns itself with theoretical and practical issues in the study of creativity. Theoretical work on the nature and proper definition of creativity is performed in parallel with practical work on the implementation of systems that exhibit creativity, with one strand of work informing the other. The applied form of computational creativity is known as media synthesis. == Theoretical issues == Theoretical approaches concern the essence of creativity. Especially, under what circumstances it is possible to call the model a "creative" if eminent creativity is about rule-breaking or the disavowal of convention. This is a variant of Ada Lovelace's objection to machine intelligence, as recapitulated by modern theorists such as Teresa Amabile. If a machine can do only what it was programmed to do, how can its behavior ever be called creative? Indeed, not all computer theorists would agree with the premise that computers can only do what they are programmed to do—a key point in favor of computational creativity. == Defining creativity in computational terms == Because no single perspective or definition seems to offer a complete picture of creativity, the AI researchers Newell, Shaw and Simon developed the combination of novelty and usefulness into the cornerstone of a multi-pronged view of creativity, one that uses the following four criteria to categorize a given answer or solution as creative: The answer is novel and useful (either for the individual or for society) The answer demands that we reject ideas we had previously accepted The answer results from intense motivation and persistence The answer comes from clarifying a problem that was originally vague Margaret Boden focused on the first two of these criteria, arguing instead that creativity (at least when asking whether computers could be creative) should be defined as "the ability to come up with ideas or artifacts that are new, surprising, and valuable". Mihaly Csikszentmihalyi argued that creativity had to be considered instead in a social context, and his DIFI (Domain-Individual-Field Interaction) framework has since strongly influenced the field. In DIFI, an individual produces works whose novelty and value are assessed by the field—other people in society—providing feedback and ultimately adding the work, now deemed creative, to the domain of societal works from which an individual might be later influenced. Whereas the above reflects a top-down approach to computational creativity, an alternative thread has developed among bottom-up computational psychologists involved in artificial neural network research. During the late 1980s and early 1990s, for example, such generative neural systems were driven by genetic algorithms. Experiments involving recurrent nets were successful in hybridizing simple musical melodies and predicting listener expectations. == Historical evolution of computational creativity == The use computational processes to generate creative artifacts has been present from early times in history. During the late 1800's, methods for composing music combinatorily were explored, involving prominent figures like Mozart, Bach, Haydn, and Kiernberger. This approach extended to analytical endeavors as early as 1934, where simple mechanical models were built to explore mathematical problem solving. Professional interest in the creative aspect of computation also was commonly addressed in early discussions of artificial intelligence. The 1956 Dartmouth Conference, listed creativity, invention, and discovery as key goals for artificial intelligence. As the development of computers allowed systems of greater complexity, the 1970's and 1980's saw invention of early systems that modelled creativity using symbolic or rule-based approaches. The field of creative storytelling investigated several such models. Meehan's TALE-SPIN (1977) generated narratives through simulation of character goals and decision trees. Dehn's AUTHOR (1981) approached generation by simulating an author's process for crafting a story. Beyond narrative generation, computational creativity expanded into artistic and scientific domains. Artistic image generation was one of the disciplines that saw early potential in generated artifacts through computational creativity. One of the most prominent examples was Harold Cohen's AARON, which produced art through composition and adaptation of figures based on a large set of symbolic rules and heuristics for visual composition. Some systems also tackled creativity in scientific endeavors. BACON was said to rediscover natural laws like Boyle's Law and Kepler's law through hypothesis testing in constrained spaces. By the 1990's the modeling techniques became more adaptive, attempting to implement cognitive creative rules for generation. Turner's MINSTREL (1993) introduced TRAMs (Transform Recall Adapt Methods) to simulate creative re-use of prior material for generative storytelling. Meanwhile, Pérez y Pérez's MEXICA (1999) modeled the creative writing process using cycles of engagement and reflection. As systems increasingly incorporated models of internal evaluation, another approach that emerged was that of combining symbolic generation with domain-specific evaluation metrics, modeling generative and selective steps to creativity In the field of generational humor, the JAPE system (1994) generated pun-based riddles using Prolog and WordNet, applying symbolic pattern-matching rules and a large lexical database (WordNet) to compose riddles involving wordplay. WordNet is a system developed by George Miller and his team at Princeton, its platform and inspired word-mapping structures have been used as the backbone of several syntactic and semantic AI programs. A notable system for music generation was David Cope's EMI (Experiments in Musical Intelligence) or Emmy, which was trained in the styles of artists like Bach, Beethoven, or Chopin and generated novel pieces in their style through pattern abstraction and recomposition. In the 2000s and beyond, machine learning began influencing creative system design. Researchers such as Mihalcea and Strapparava trained classifiers to distinguish humorous from non-humorous text, using stylistic and semantic features. Meanwhile custom computational approaches led to chess systems like Deep Blue generating quasi-creative gameplay strategies through search algorithms and parallel processing constrained by specific rules and patterns for evaluation. The institutional development of computational creativity grew along its technical advances. Dedicated workshops such as the IJWCC emerged in the 1990s, growing out of interdisciplinary conferences focused on AI and creativity. By the early 2000s, the field coalesced around annual conferences like the International Conference on Computational Creativity (ICCC). Recently, with the advent of Deep Learning, Transformers, and further refinement in Machine Learning structures, computational creativity's implementation space has new tools for development. == Machine learning for computational creativity == While traditional computational approaches to creativity rely on the explicit formulation of prescriptions by developers and a certain degree of randomness in computer programs, machine learning methods allow computer programs to learn on heuristics from input data enabling creative capacities within the computer programs. Especially, deep artificial neural networks allow to learn patterns from input data that allow for the non-linear generation of creative artefacts. Before 1989, artificial neural networks have been used to model certain aspects of creativity. Peter Todd (1989) first trained a neural network to reproduce musical melodies from a training set of musical pieces. Then he used a change algorithm to modify the network's input parameters. The network was able to randomly generate new music in a highly uncontrolled manner. In 1992, Todd extended this work, using the so-called distal teacher approach that had been d
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