AI News and Guides

Explore the best AI News and Guides — independent reviews, comparisons, pricing and step-by-step how-to guides, curated by Aizhi.

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  Trustworthy computing

  The term trustworthy computing (TwC) has been applied to computing systems that are inherently secure, available, and reliable. It is particularly associated with the Microsoft initiative of the same name, launched in 2002. == History == Until 1995, there were restrictions on commercial traffic over the Internet. On, May 26, 1995, Bill Gates sent the "Internet Tidal Wave" memorandum to Microsoft executives assigning "...the Internet this highest level of importance..." but Microsoft's Windows 95 was released without a web browser as Microsoft had not yet developed one. The success of the web had caught them by surprise but by mid 1995, they were testing their own web server, and on August 24, 1995, launched a major online service, The Microsoft Network (MSN). The National Research Council recognized that the rise of the Internet simultaneously increased societal reliance on computer systems while increasing the vulnerability of such systems to failure and produced an important report in 1999, "Trust in Cyberspace". This report reviews the cost of un-trustworthy systems and identifies actions required for improvement. == Microsoft and Trustworthy Computing == Bill Gates launched Microsoft's "Trustworthy Computing" initiative with a January 15, 2002 memo, referencing an internal whitepaper by Microsoft CTO and Senior Vice President Craig Mundie. The move was reportedly prompted by the fact that they "...had been under fire from some of its larger customers–government agencies, financial companies and others–about the security problems in Windows, issues that were being brought front and center by a series of self-replicating worms and embarrassing attacks." such as Code Red, Nimda, Klez and Slammer. Four areas were identified as the initiative's key areas: Security, Privacy, Reliability, and Business Integrity, and despite some initial scepticism, at its 10-year anniversary it was generally accepted as having "...made a positive impact on the industry...". The Trustworthy Computing campaign was the main reason why Easter eggs disappeared from Windows, Office and other Microsoft products.

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  Take Us to Your Chief: and Other Stories

  Take Us to Your Chief: and Other Stories is a collection of nine short stories by Canadian author, playwright, and journalist Drew Hayden Taylor published in 2016 by Douglas & McIntyre. Taylor, who is part Caucasian, part Ojibwe, explains in the acknowledgments section of the book that the origin of the project lies in several failed attempts "to compile an anthology of Native sci-fi from Canada’s best First Nations writers." The stories explore contemporary First Nations social issues through employing a number of 1950s-era science fiction tropes and themes in these stories, including time travel, alien contact, and superpowers. Many reviews of the books have noted Taylor's use of humor to examine dark subject matter, such as the heritage of Canadian Indian residential schools, First Nations suicide rates, or the water quality crisis on Canadian reserves. == The Stories == "Andrei nas" "I Am...Am I" "Lost in Space" "Dreams of Doom" "Mr. Gizmo" "Petropaths" "Stars" "Superdisappointed" "Take Us to Your Chief" == Story summaries == === Foreword === In his foreword, Taylor describes the genesis of Take Us to Your Chief: and Other Stories and invites readers into, in his term, a “new terra nullius.” He begins by describing his biracial upbringing and heritage. He points out that First Nations people are rarely associated with technology or science fiction, in part because Indigenous peoples were often at a technological disadvantage against European colonizers. He references the few examples that he can think of from popular culture, such as the Star Trek episode called “The Paradise Syndrome,” in which First Nations people are portrayed as stereotypical Indians in hippie clothing. He also elaborates on his fascination with the world of sci-fi, which first started in comic books. He enjoyed the literary work of H.G. Wells, such as The Time Machine and The Invisible Man. Since sci-fi is a world of endless opportunities, he intends that these short stories help people explore science fiction through Native peoples’ minds, something that needs to be explored more thoroughly. === "A Culturally Inappropriate Armageddon" === “A Culturally Inappropriate Armageddon” is set on a Haudenosaunee reserve, towards the end of the Oka Crisis, with a handful of people that work at its first ever radio station, C-RES, which opens in 1991. Part 1, titled “C-Res Is on the Air,” depicts Emily, Aaron, and Tracey on their first days at the station. Within the group, there is a constant debate between broadcasting popular programming, including science fiction and film reviews, and culturally-relevant programming meant to aid in cultural revitalization efforts. One night, Aaron is late to work but once he shows up he can't stop talking about radio transmissions broadcasting into deep space, an event that has been occurring since the initial discovery of the radio waves by Heinrich Hertz. The story then skips ahead seven years to 1998, when Emily is struggling to find better content for her station until Tracey stumbles upon an old anthropological record named “The Calling Song” that they decide to broadcast to their audience. The story then jumps to the year 2018 where they are all huddled around a television watching a news station reporting that extraterrestrial life is heading towards them. The discussion of what is going to happen comes into the picture and they all decide it would either be like Contact or The Day the Earth Stood Still. A year later in 2019, the aliens have invaded the planet and destroyed everything. As the three former radio station employees suffer from radioactive fallout, they realize that the aliens received the broadcast of “The Calling Song” and took it as a message to come to Earth. They thus realize that the Haudenosaunee people were inadvertently responsible for the destruction of the Earth. Part 2, titled “Old Men and Old Sayings,” tells us of an elderly man that is watching the news and listening to the radio about a spaceship coming to earth. He knows that he and everyone will die, but the people around him are excited. He finds a book on his night stand and flips to a page where he underlined a sentence a long time ago about the European colonization of the Americas. That sentence reads “those who cannot remember the past are condemned to repeat it” (23). He closes the book and Taylor concludes the story by writing, “he hated it when white people were right." === "I Am...Am I" === “I Am...Am I” chronicles the accidental creation and unexpected ending of artificial intelligence. Professor Mark King has a plethora of degrees and works for a research firm called FUTUREVISION. One night as Professor King searches the lab for his car keys—a common occurrence for him—he notices something unusual in the Matrix room. He reads on a computer the phrase “I am.” First believing it to be a prank, King later comes to the realization that his Matrix project has evolved into a responsive Artificial Intelligence. After this realization, Professor King calls his peer Dr. Gayle Chambers to further investigate this miraculous event. After receiving approval from their superiors, Professor King and Dr. Chambers move forward in feeding the AI information, with Chambers serving as the lead communicator. With more information, it becomes increasingly concerned with its own existence and the concept of whether it has a soul. After several days of conversation with the AI, Chambers and King begin to feel uneasy about the AI's responses, which show signs of neuroses. Despite this behavior, Chambers decides to feed the AI information about the culture and history of the human race. Upon receiving this information, the AI becomes obsessed with Indigenous spirituality prior to the colonization of the Americas, and it requests more information on First Nations people. Dr. Chambers is hesitant at first, but gives in and continues to feed the AI the information with the intention to return to it in the morning. This leads to the AI finding out about colonization and genocide of Indigenous peoples. Upon her arrival the next day, Chambers discovers that the code for the AI has been completely wiped from the hard drive and a single message is left on the screen—"I was”—that signifies the AI's suicide. === "Lost in Space" === "Lost in Space" is told from the perspective of Mitchell, an Anishinabe astrosurveyor who is aboard a space shuttle on a two-year tour collecting rocks from an asteroid belt. He is accompanied by an Artificial general intelligence named Mac, short for “machine.” Mac is aboard this tour in order to accompany Mitchell and keep him sane; however, his company is a burden because for Mitchell, “true space exploration consists largely of boredom.” In the midst of Mitchell seeking a way to occupy his downtime, Mac interrupts with news about his grandfather, Papa Peter, dying. Papa Peter was Mitchell's only real tie to his Indigenous identity. After receiving the news Mitchell begins to reminisce on all of the things Papa Peter had taught him throughout his life. He constantly posed questions concerning the world above (Father Sky) and how it is more important than the land they live on (Mother Earth), which eventually led Mitchell to the selection of his career. During his state of mourning, Mitchell begins to go through all the videos his grandfather had sent him throughout his space tours. Papa Peter had sent Mitchell videos from Otter Lake, a First Nations reserve; these videos are about controversial topics regarding being both native and an astronaut. In the midst of Mitchell's grieving, Mac tries to relieve the situation by finding an online video of Mitchell's grandfather participating in a drum ceremony at Ottawa’s National Aboriginal Day festival. He reconnects to his roots and his grandfather’s spirit as he listens to the Indigenous music by feeling the drum beat and humming along. Mac’s small act of kindness leads Mitchell to gain a new-found appreciation for his presence. Mitchell feels responsible to moving forward in his life in memory of Papa Peter. === "Dreams of Doom" === "Dreams of Doom" is narrated by an Ojibway reporter named Pamela Wanishin who works for an aboriginal newspaper called the West Wind. One day she receives a mysterious package with a broken dreamcatcher and a flash drive containing highly classified files. As she reads the files, she keeps seeing the term “Project Nightlight,” and out of curiosity, she Googles it. Once she Googles this, she is contacted by a nameless agent from Indigenous and Northern Affairs Canada and told that she must be relocated because the knowledge she now possesses must never be released to the public. She quickly flees the area to a cabin at Otter Lake, owned by a family member, to lie low for a few days. Eventually, the government organization tracks her down using drones, which forces her to fight back and flee once again. Pamela then runs to her friend and coworker Sally's hous

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  Algorithmic accountability

  Algorithmic accountability refers to the allocation of responsibility for the consequences of real-world actions influenced by algorithms used in decision-making processes. Ideally, algorithms should be designed to eliminate bias from their decision-making outcomes. This means they ought to evaluate only relevant characteristics of the input data, avoiding distinctions based on attributes that are generally inappropriate in social contexts, such as an individual's ethnicity in legal judgments. However, adherence to this principle is not always guaranteed, and there are instances where individuals may be adversely affected by algorithmic decisions. Responsibility for any harm resulting from a machine's decision may lie with the algorithm itself or with the individuals who designed it, particularly if the decision resulted from bias or flawed data analysis inherent in the algorithm's design. == Algorithm usage == Algorithms are widely utilized across various sectors of society that incorporate computational techniques in their control systems. These applications span numerous industries, including but not limited to medical, transportation, and payment services. In these contexts, algorithms perform functions such as: Approving or denying credit card applications; Approving or denying immigrant visas; Determining which taxpayers will be audited on their income taxes; Managing systems that control self-driving cars on a highway; Scoring individuals as potential criminals for use in legal proceedings; Search engines that match and rank database and internet search results; Recommendation systems that filter which news, entertainment, or purchase items are featured in a feed; Market-making algorithms that match sellers and buyers, such as in transportation (ride-hailing) or financial platforms. However, the implementation of these algorithms can be complex and opaque. Generally, algorithms function as "black boxes," meaning that the specific processes an input undergoes during execution are often not transparent, with users typically only seeing the resulting output. This lack of transparency raises concerns about potential biases within the algorithms, as the parameters influencing decision-making may not be well understood. The outputs generated can lead to perceptions of bias, especially if individuals in similar circumstances receive different results. According to Nicholas Diakopoulos: But these algorithms can make mistakes. They have biases. Yet they sit in opaque black boxes, their inner workings, their inner “thoughts” hidden behind layers of complexity. We need to get inside that black box, to understand how they may be exerting power on us, and to understand where they might be making unjust mistakes == Wisconsin Supreme Court case == Algorithms are prevalent across various fields and significantly influence decisions that affect the population at large. Their underlying structures and parameters often remain unknown to those impacted by their outcomes. A notable case illustrating this issue is a recent ruling by the Wisconsin Supreme Court concerning "risk assessment" algorithms used in criminal justice. The court determined that scores generated by such algorithms, which analyze multiple parameters from individuals, should not be used as a determining factor for arresting an accused individual. Furthermore, the court mandated that all reports submitted to judges must include information regarding the accuracy of the algorithm used to compute these scores. This ruling is regarded as a noteworthy development in how society should manage software that makes consequential decisions, highlighting the importance of reliability, particularly in complex settings like the legal system. The use of algorithms in these contexts necessitates a high degree of impartiality in processing input data. However, experts note that there is still considerable work to be done to ensure the accuracy of algorithmic results. Questions about the transparency of data processing continue to arise, which raises issues regarding the appropriateness of the algorithms and the intentions of their designers. == Controversies == A notable instance of potential algorithmic bias is highlighted in an article by The Washington Post regarding the ride-hailing service Uber. An analysis of collected data revealed that estimated waiting times for users varied based on the neighborhoods in which they resided. Key factors influencing these discrepancies included the predominant ethnicity and average income of the area. Specifically, neighborhoods with a majority white population and higher economic status tended to have shorter waiting times, while those with more diverse ethnic compositions and lower average incomes experienced longer waits. It’s important to clarify that this observation reflects a correlation identified in the data, rather than a definitive cause-and-effect relationship. No value judgments are made regarding the behavior of the Uber app in these cases. In TechCrunch website, Hemant Taneja wrote: Concern about “black box” algorithms that govern our lives has been spreading. New York University’s Information Law Institute hosted a conference on algorithmic accountability, noting: “Scholars, stakeholders, and policymakers question the adequacy of existing mechanisms governing algorithmic decision-making and grapple with new challenges presented by the rise of algorithmic power in terms of transparency, fairness, and equal treatment.” Yale Law School’s Information Society Project is studying this, too. “Algorithmic modeling may be biased or limited, and the uses of algorithms are still opaque in many critical sectors,” the group concluded. == Possible solutions == Discussions among experts have sought viable solutions to understand the operations of algorithms, often referred to as "black boxes." It is generally proposed that companies responsible for developing and implementing these algorithms should ensure their reliability by disclosing the internal processes of their systems. Hemant Taneja, writing for TechCrunch, emphasizes that major technology companies, such as Google, Amazon, and Uber, must actively incorporate algorithmic accountability into their operations. He suggests that these companies should transparently monitor their own systems to avoid stringent regulatory measures. One potential approach is the introduction of regulations in the tech sector to enforce oversight of algorithmic processes. However, such regulations could significantly impact software developers and the industry as a whole. It may be more beneficial for companies to voluntarily disclose the details of their algorithms and decision-making parameters, which could enhance the trustworthiness of their solutions. Another avenue discussed is the possibility of self-regulation by the companies that create these algorithms, allowing them to take proactive steps in ensuring accountability and transparency in their operations. In TechCrunch website, Hemant Taneja wrote: There’s another benefit — perhaps a huge one — to software-defined regulation. It will also show us a path to a more efficient government. The world’s legal logic and regulations can be coded into software and smart sensors can offer real-time monitoring of everything from air and water quality, traffic flows and queues at the DMV. Regulators define the rules, technologist create the software to implement them and then AI and ML help refine iterations of policies going forward. This should lead to much more efficient, effective governments at the local, national and global levels.

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  AI@50

  AI@50, formally known as the "Dartmouth Artificial Intelligence Conference: The Next Fifty Years" (July 13–15, 2006), was a conference organized by James H. Moor, commemorating the 50th anniversary of the Dartmouth workshop which effectively inaugurated the history of artificial intelligence. Five of the original ten attendees were present: Marvin Minsky, Ray Solomonoff, Oliver Selfridge, Trenchard More, and John McCarthy. While sponsored by Dartmouth College, General Electric, and the Frederick Whittemore Foundation, a $200,000 grant from the Defense Advanced Research Projects Agency (DARPA) called for a report of the proceedings that would: Analyze progress on AI's original challenges during the first 50 years, and assess whether the challenges were "easier" or "harder" than originally thought and why Document what the AI@50 participants believe are the major research and development challenges facing this field over the next 50 years, and identify what breakthroughs will be needed to meet those challenges Relate those challenges and breakthroughs against developments and trends in other areas such as control theory, signal processing, information theory, statistics, and optimization theory. A summary report by the conference director, James H. Moor, was published in AI Magazine. == Conference Program and links to published papers == James H. Moor, conference Director, Introduction Carol Folt and Barry Scherr, Welcome Carey Heckman, Tonypandy and the Origins of Science === AI: Past, Present, Future === John McCarthy, What Was Expected, What We Did, and AI Today Marvin Minsky, The Emotion Machine === The Future Model of Thinking === Ron Brachman and Hector Levesque, A Large Part of Human Thought David Mumford, What is the Right Model for 'Thought'? Stuart Russell, The Approach of Modern AI === The Future of Network Models === Geoffrey Hinton & Simon Osindero, From Pandemonium to Graphical Models and Back Again Rick Granger, From Brain Circuits to Mind Manufacture === The Future of Learning & Search === Oliver Selfridge, Learning and Education for Software: New Approaches in Machine Learning Ray Solomonoff, Machine Learning — Past and Future Leslie Pack Kaelbling, Learning to be Intelligent Peter Norvig, Web Search as a Product of and Catalyst for AI === The Future of AI === Rod Brooks, Intelligence and Bodies Nils Nilsson, Routes to the Summit Eric Horvitz, In Pursuit of Artificial Intelligence: Reflections on Challenges and Trajectories === The Future of Vision === Eric Grimson, Intelligent Medical Image Analysis: Computer Assisted Surgery and Disease Monitoring Takeo Kanade, Artificial Intelligence Vision: Progress and Non-Progress Terry Sejnowski, A Critique of Pure Vision === The Future of Reasoning === Alan Bundy, Constructing, Selecting and Repairing Representations of Knowledge Edwina Rissland, The Exquisite Centrality of Examples Bart Selman, The Challenge and Promise of Automated Reasoning === The Future of Language and Cognition === Trenchard More The Birth of Array Theory and Nial Eugene Charniak, Why Natural Language Processing is Now Statistical Natural Language Processing Pat Langley, Intelligent Behavior in Humans and Machines === The Future of the Future === Ray Kurzweil, Why We Can Be Confident of Turing Test Capability Within a Quarter Century George Cybenko, The Future Trajectory of AI Charles J. Holland, DARPA's Perspective === AI and Games === Jonathan Schaeffer, Games as a Test-bed for Artificial Intelligence Research Danny Kopec, Chess and AI Shay Bushinsky, Principle Positions in Deep Junior's Development === Future Interactions with Intelligent Machines === Daniela Rus, Making Bodies Smart Sherry Turkle, From Building Intelligences to Nurturing Sensibilities === Selected Submitted Papers: Future Strategies for AI === J. Storrs Hall, Self-improving AI: An Analysis Selmer Bringsjord, The Logicist Manifesto Vincent C. Müller, Is There a Future for AI Without Representation? Kristinn R. Thórisson, Integrated A.I. Systems === Selected Submitted Papers: Future Possibilities for AI === Eric Steinhart, Survival as a Digital Ghost Colin T. A. Schmidt, Did You Leave That 'Contraption' Alone With Your Little Sister? Michael Anderson & Susan Leigh Anderson, The Status of Machine Ethics Marcello Guarini, Computation, Coherence, and Ethical Reasoning

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  Perusall

  Perusall is a social web annotation tool intended for use by students at schools and universities. It allows users to annotate the margins of a text in a virtual group setting that is similar to social media—with upvoting, emojis, chat functionality, and notification. It also includes automatic AI grading. == History == Perusall began as a research project at Harvard University. It later became an educational product for students and teachers. As of 2024, Perusall states more than 5 million students have used the tool at over 5,000 educational institutions in 112 countries." == Functionality == Perusall integrates with learning management systems such as Moodle, Canvas and Blackboard to aid with collaborative annotation. The tool supports annotation of a range of media including text, images, equations, videos, PDFs and snapshots of webpages.

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  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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  Galatea (video game)

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

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  Generative AI pornography

  Generative AI pornography or simply AI pornography is a digitally created pornography produced through generative artificial intelligence (AI) technologies. Unlike traditional pornography, which involves real actors and cameras, this content is synthesized entirely by AI algorithms. These algorithms, including generative adversarial networks (GANs) and text-to-image models, generate lifelike images, videos, or animations from textual descriptions or datasets. == Functions and production strategies == AI pornography platforms, beyond account creation and social media linking, primarily enable users to generate sexual images through feature selection or text prompting. Users can customize bodies, clothing, and sociodemographic traits, and browse categorized galleries of user‑generated content. Several sites also support short pornographic videos or GIFs and modification tools such as nudifiers, deepfakes, and facemorphing. Platforms often allow fine‑tuning of parameters such as settings, style, or theme, and provide prompt enhancers or suggestions to improve outputs. Users may edit generated images, refine prior prompts, modify others’ work, or upload personal material as a basis, with iterative and collaborative content creation. Some websites additionally host interactive “erobots,” customizable in real time for appearance, personality, memories, speech, and profession, enabling tailored sexual and non‑sexual interactions. Less common features include VR integration, AI porn games, audio or doodle prompts, and consensual replication of individuals with verification. == History == The use of generative AI in the adult industry began in the late 2010s, initially focusing on AI-generated art, music, and visual content. This trend accelerated in 2022 with Stability AI's release of Stable Diffusion (SD), an open-source text-to-image model that enables users to generate images, including NSFW content, from text prompts using the LAION-Aesthetics subset of the LAION-5B dataset. Despite Stability AI's warnings against sexual imagery, SD's public release led to dedicated communities exploring both artistic and explicit content, sparking ethical debates over open-access AI and its use in adult media. By 2020, AI tools had advanced to generate highly realistic adult content, amplifying calls for regulation. === AI-generated influencers === One application of generative AI technology is the creation of AI-generated influencers on platforms such as OnlyFans and Instagram. These AI personas interact with users in ways that can mimic real human engagement, offering an entirely synthetic but convincing experience. While popular among niche audiences, these virtual influencers have prompted discussions about authenticity, consent, and the blurring line between human and AI-generated content, especially in adult entertainment. === The growth of AI porn sites === By 2023, websites dedicated to AI-generated adult content had gained traction, catering to audiences seeking customizable experiences. These platforms allow users to create or view AI-generated pornography tailored to their preferences. These platforms enable users to create or view AI-generated adult content appealing to different preferences through prompts and tags, customizing body type, facial features, and art styles. Tags further refine the output, creating niche and diverse content. Many sites feature extensive image libraries and continuous content feeds, combining personalization with discovery and enhancing user engagement. AI porn sites, therefore, attract those seeking unique or niche experiences, sparking debates on creativity and the ethical boundaries of AI in adult media. == Ethical concerns and misuse == The growth of generative AI pornography has also attracted some cause for criticism. AI technology can be exploited to create non-consensual pornographic material, posing risks similar to those seen with deepfake revenge porn and AI-generated NCII (Non-Consensual Intimate Image). A 2023 analysis found that 98% of deepfake videos online are pornographic, with 99% of the victims being women. Some famous celebrities victims of deepfake include Scarlett Johansson, Taylor Swift, and Maisie Williams. OpenAI is exploring whether NSFW content, such as erotica, can be responsibly generated in age-appropriate contexts while maintaining its ban on deepfakes. This proposal has attracted criticism from child safety campaigners who argue it undermines OpenAI's mission to develop "safe and beneficial" AI. Additionally, the Internet Watch Foundation has raised concerns about AI being used to generate sexual abuse content involving children. === AI-generated non-consensual intimate imagery (AI Undress) === Generative AI have extensively been used to produce pornography images and videos of non-consenting individuals. 404 Media reported a particular AI generated porn bot on Telegram has more than 100,000 monthly users. Alibaba, the Chinese tech company, released an AI video generation model in 2025 called Wan 2.1, which was modified to produce non-consensual pornography. Several US states are taking actions against using deepfake apps and sharing them on the internet. In 2024, San Francisco filed a landmark lawsuit to shut down "undress" apps that allow users to generate non-consensual AI nude images, citing violations of state laws. The case aligns with California's recent legislation—SB 926, SB 942, and SB 981—championed by Senators Aisha Wahab and Josh Becker and signed by Governor Gavin Newsom. These bills aim to protect individuals from AI-generated explicit images by criminalizing non-consensual distribution, mandating disclosures, and empowering victims to report and remove harmful content from platforms. === Differences from deepfake pornography === While both generative AI pornography and deepfake pornography rely on synthetic media, they differ in their methods and ethical considerations. Deepfake pornography typically involves altering existing footage of real individuals, often without their consent, using AI to superimpose faces, undress said persons, or modify scenes. In contrast, generative AI pornography is created using algorithms, producing hyper-realistic content without the need to upload real pictures of people. Hany Farid, digital image analysis expert, also described the difference between "AI porn" and "deepfake porn." == Legality == The legality of generative AI pornography varies widely by jurisdiction and remains an evolving issue. In some countries, laws addressing digital impersonation, obscenity, or deepfake technologies may indirectly apply, particularly when AI-generated content involves the likeness of real individuals without consent. The absence of a physical performer further complicates traditional regulatory frameworks, which are often grounded in performer protection and distribution laws. In the United States, legal responses have primarily focused on non-consensual deepfakes and impersonation. Some states, such as Virginia, California, and Texas, have enacted legislation criminalising the creation or distribution of non-consensual explicit deepfake content. However, there is no comprehensive federal law addressing AI-generated pornography, leaving a patchwork of legal interpretations and enforcement standards across different jurisdictions. According to a 2023 report, South Korea accounts for approximately 53% of global deepfake pornography production. In September 2024, South Korea's National Assembly amended the Act on Special Cases Concerning the Punishment of Sexual Crimes, introducing two significant reforms related to deepfake content. The first criminalises the possession, viewing, purchase, and storage of non-consensual deepfake material, with penalties of up to three years in prison or fines of up to 30 million won (approximately USD 20,000). The second reform specifically addresses the exploitation of minors, establishing that individuals who use deepfakes to threaten or blackmail minors face a minimum of three years' imprisonment, and at least five years if they coerce minors into unwanted acts. In England and Wales the Data (Use and Access) Act 2025 has legislated against the creation, or the request for creation, of intimate images by nudifying software or websites of another person who has not consented to this. However as of January 2026 this has not yet been brought into force.

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  Tactical NAV

  Tactical NAV, also known as TACNAV-X, is a location-based tracking app designed for use by military personnel. The app is primarily designed to assist in pinpointing enemy fire and mapping waypoints. Tactical NAV also helps users efficiently relay critical information to tactical operations centers for prompt decision-making regarding airstrikes or medical evacuations. The TACNAV-X platform is intended to enhance situational awareness, refine navigation capabilities, and assist in tactical decision-making across various operational environments. == Overview == Tactical NAV allows users to pinpoint enemy fire. == History == Tactical NAV was designed by U.S. Army Captain Jonathan J. Springer, a Field Artillery officer serving as a Battalion Fire Support Officer (FSO) in the 101st Airborne Division. Springer conceived the idea for the app during his third tour in Afghanistan in support of Operation Enduring Freedom. On June 25, 2010, after a rocket attack by the Taliban killed two soldiers in his battalion, he was inspired to create an app that would prevent similar losses in the future, enhance situational awareness, and assist soldiers serving on combat deployments. In 2010, Springer founded TacNav Systems (formerly AppDaddy Technologies) to develop mobile applications for use by military personnel. He tested the app during combat operations in eastern Afghanistan and verified TACNAV-X's accuracy using DAGRs, AFATDS, Falcon View, CPOF, ATAK, and other approved Department of Defense (DoD) systems. As of 2012, the app had been downloaded 8,000 times.

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  SpreeAI

  SpreeAI (stylized as SPREEAI) is an American fashion technology company headquartered in Incline Village, Nevada that develops artificial intelligence software for the apparel and retail industries, including photorealistic virtual try-on, AI-powered sizing recommendations, and digital model generation. Founded in 2022 by John Imah and Bob Davidson, the company achieved unicorn status in 2025 following a Series B round led by Davidson Group that valued the company at approximately US$1.5 billion. TechCrunch identified SpreeAI as one of the more than 100 new tech unicorns minted in 2025. Its board of directors includes supermodel Naomi Campbell and hospitality executive Larry Ruvo. == History == SpreeAI was founded in 2022 by John Imah and Bob Davidson with a focus on artificial intelligence applications in fashion retail. By 2024, the company had raised approximately US$60 million in venture funding. In May 2025, SpreeAI announced a Series B round led by Davidson Group; reporting at the time placed the company's valuation at approximately US$1.5 billion, making it one of a small number of fashion-technology companies to reach unicorn status. In January 2026, TechCrunch listed SpreeAI among the more than 100 new tech unicorns minted in 2025. == Technology == SpreeAI develops a suite of artificial intelligence tools for the apparel industry. Its consumer-facing platform allows shoppers to upload a single photograph or select a digital model and then visualize clothing items on that figure with photorealistic rendering, while a complementary sizing engine generates fit recommendations intended to reduce returns. The platform is designed for integration with online retailers so that shoppers can preview garments before purchase. The company has stated that its models were developed in part through research collaborations with the Massachusetts Institute of Technology and Carnegie Mellon University. == Leadership and board == John Imah, a Nigerian-American technology executive who previously held roles at Samsung, Twitch, Meta Platforms, and Snap Inc., is co-founder and chief executive officer. Co-founder Bob Davidson, through Davidson Group, led the company's Series B financing. The company's board of directors includes supermodel Naomi Campbell, who joined in 2024, and Las Vegas hospitality executive Larry Ruvo. == Partnerships == SpreeAI has formed partnerships across both academia and the fashion industry. Council of Fashion Designers of America (CFDA). In 2025, SpreeAI entered a partnership with the CFDA to support American designers and brands with AI-driven tools; the CFDA described SpreeAI as "a fashion technology leader delivering innovative solutions to help designers and brands thrive." Massachusetts Institute of Technology and Carnegie Mellon University. The company has cited ongoing research and talent collaborations with both institutions. Sergio Hudson and Kai Collective. In 2025, SpreeAI made what WWD described as its Met Gala debut through a custom collaboration with designer Sergio Hudson and Nigerian-British label Kai Collective; the collaboration paired Hudson's couture with SpreeAI's virtual try-on platform. == Recognition == In 2025, TechCrunch named SpreeAI among the new tech unicorns of the year. In 2025, SpreeAI was named an honoree in Inc.'s Best in Business awards, and CEO John Imah was included on Inc.'s list of 40 business leaders who "propelled their organizations to success." In 2025, Imah was named to the Observer's AI Power Index, a list of 100 leaders shaping the future of artificial intelligence. In 2025, Imah was included in AfroTech's Future 50, recognizing Black innovators in technology. SpreeAI and Imah have been the subject of profile coverage in The Washington Post, Rolling Stone UK, WWD, Vogue UA, L'Officiel Arabia, GQ South Africa, and Inc..

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  Cooperative coevolution

  Cooperative Coevolution (CC) in the field of biological evolution is an evolutionary computation method. It divides a large problem into subcomponents, and solves them independently in order to solve the large problem. The subcomponents are also called species. The subcomponents are implemented as subpopulations and the only interaction between subpopulations is in the cooperative evaluation of each individual of the subpopulations. The general CC framework is nature inspired where the individuals of a particular group of species mate amongst themselves, however, mating in between different species is not feasible. The cooperative evaluation of each individual in a subpopulation is done by concatenating the current individual with the best individuals from the rest of the subpopulations as described by M. Potter. The cooperative coevolution framework has been applied to real world problems such as pedestrian detection systems, large-scale function optimization and neural network training. It has also be further extended into another method, called Constructive cooperative coevolution. == Pseudocode == i := 0 for each subproblem S do Initialise a subpopulation Pop0(S) calculate fitness of each member in Pop0(S) while termination criteria not satisfied do i := i + 1 for each subproblem S do select Popi(S) from Popi-1(S) apply genetic operators to Popi(S) calculate fitness of each member in Popi(S)

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  Shyster (expert system)

  SHYSTER is a legal expert system developed at the Australian National University in Canberra in 1993. It was written as the doctoral dissertation of James Popple under the supervision of Robin Stanton, Roger Clarke, Peter Drahos, and Malcolm Newey. A full technical report of the expert system, and a book further detailing its development and testing have also been published. SHYSTER emphasises its pragmatic approach, and posits that a legal expert system need not be based upon a complex model of legal reasoning in order to produce useful advice. Although SHYSTER attempts to model the way in which lawyers argue with cases, it does not attempt to model the way in which lawyers decide which cases to use in those arguments. SHYSTER is of a general design, permitting its operation in different legal domains. It was designed to provide advice in areas of case law that have been specified by a legal expert using a bespoke specification language. Its knowledge of the law is acquired, and represented, as information about cases. It produces its advice by examining, and arguing about, the similarities and differences between cases. It derives its name from Shyster: a slang word for someone who acts in a disreputable, unethical, or unscrupulous way, especially in the practice of law and politics. == Methods == SHYSTER is a specific example of a general category of legal expert systems, broadly defined as systems that make use of artificial intelligence (AI) techniques to solve legal problems. Legal AI systems can be divided into two categories: legal retrieval systems and legal analysis systems. SHYSTER belongs to the latter category of legal analysis systems. Legal analysis systems can be further subdivided into two categories: judgment machines and legal expert systems. SHYSTER again belongs to the latter category of legal expert systems. A legal expert system, as Popple uses the term, is a system capable of performing at a level expected of a lawyer: "AI systems which merely assist a lawyer in coming to legal conclusions or preparing legal arguments are not here considered to be legal expert systems; a legal expert system must exhibit some legal expertise itself." Designed to operate in more than one legal domain, and be of specific use to the common law of Australia, SHYSTER accounts for statute law, case law, and the doctrine of precedent in areas of private law. Whilst it accommodates statute law, it is primarily a case-based system, in contradistinction to rule-based systems like MYCIN. More specifically, it was designed in a manner enabling it to be linked with a rule-based system to form a hybrid system. Although case-based reasoning possesses an advantage over rule-based systems by the elimination of complex semantic networks, it suffers from intractable theoretical obstacles: without some further theory it cannot be predicted what features of a case will turn out to be relevant. Users of SHYSTER therefore require some legal expertise. Richard Susskind argues that "jurisprudence can and ought to supply the models of law and legal reasoning that are required for computerized [sic] implementation in the process of building all expert systems in law". Popple, however, believes jurisprudence is of limited value to developers of legal expert systems. He posits that a lawyer must have a model of the law (maybe unarticulated) which includes assumptions about the nature of law and legal reasoning, but that model need not rest on basic philosophical foundations. It may be a pragmatic model, developed through experience within the legal system. Many lawyers perform their work with little or no jurisprudential knowledge, and there is no evidence to suggest that they are worse, or better, at their jobs than lawyers well-versed in jurisprudence. The fact that many lawyers have mastered the process of legal reasoning, without having been immersed in jurisprudence, suggests that it may indeed be possible to develop legal expert systems of good quality without jurisprudential insight. As a pragmatic legal expert system SHYSTER is the embodiment of this belief. A further example of SHYSTER’s pragmatism is its simple knowledge representation structure. This structure was designed to facilitate specification of different areas of case law using a specification language. Areas of case law are specified in terms of the cases and attributes of importance in those areas. SHYSTER weights its attributes and checks for dependence between them. In order to choose cases upon which to construct its opinions, SHYSTER calculates distances between cases and uses these distances to determine which of the leading cases are nearest to the instant case. To this end SHYSTER can be seen to adopt and expand upon nearest neighbor search methods used in pattern recognition. These nearest cases are used to produce an argument (based on similarities and differences between the cases) about the likely outcome in the instant case. This argument relies on the doctrine of precedent; it assumes that the instant case will be decided the same way as was the nearest case. SHYSTER then uses information about these nearest cases to construct a report. The report that SHYSTER generates makes a prediction and justifies that prediction by reference only to cases and their similarities and differences: the calculations that SHYSTER performs in coming to its opinion do not appear in that opinion. Safeguards are employed to warn users if SHYSTER doubts the veracity of its advice. == Results == SHYSTER was tested in four different and disparate areas of case law. Four specifications were written, each representing an area of Australian law: an aspect of the law of trover; the meaning of "authorization [sic]" in copyright law of Australia; the categorisation of employment contracts; and the implication of natural justice in administrative decision-making. SHYSTER was evaluated under five headings: its usefulness, its generality, the quality of its advice, its limitations, and possible enhancements that could be made to it. Despite its simple knowledge representation structure, it has shown itself capable of producing good advice, and its simple structure has facilitated the specification of different areas of law. Appreciating the difficulties encountered by legal expert systems developers in adequately representing legal knowledge can assist in appreciating the shortcomings of digital rights management technologies. Some academics believe future digital rights management systems may become sophisticated enough to permit exceptions to copyright law. To this end SHYSTER's attempt to model "authorization [sic]" in the Copyright Act can be viewed as pioneering work in this field. The term "authorization [sic]" is undefined in the Copyright Act. Consequently, a number of cases have been before the courts seeking answers as to what conduct amounts to authorisation. The main contexts in which the issue has arisen are analogous to permitted exceptions to copyright currently prevented by most digital rights management technologies: "home taping of recorded materials, photocopying in educational institutions and performing works in public". When applied to one case concerning compact cassettes, SHYSTER successfully agreed that Amstrad did not authorise the infringement. 'shyster-myci'n Popple highlighted the most obvious avenue of future research using SHYSTER as the development of a rule-based system, and the linking together of that rule-based system with the existing case-based system to form a hybrid system. This intention was eventually realised by Thomas O’Callaghan, the creator of SHYSTER-MYCIN: a hybrid legal expert system first presented at ICAIL '03, 24–28 June 2003 in Edinburgh, Scotland. MYCIN is an existing medical expert system, which was adapted for use with SHYSTER. MYCIN’s controversial "certainty factor" is not used in SHYSTER-MYCIN. The reason for this is the difficulty in scientifically establishing how certain a fact is in a legal domain. The rule-based approach of the MYCIN part is used to reason with the provisions of an Act of Parliament only. This hybrid system enables the case-based system (SHYSTER) to determine open textured concepts when required by the rule-based system (MYCIN). The ultimate conclusion of this joint endeavour is that a hybrid approach is preferred in the creation of legal expert systems where "it is appropriate to use rule-based reasoning when dealing with statutes, and…case-based reasoning when dealing with cases".

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  Data preprocessing

  Data preprocessing can refer to manipulation, filtration or augmentation of data before it is analyzed, and is often an important step in the data mining process. Data collection methods are often loosely controlled, resulting in out-of-range values, impossible data combinations, and missing values, amongst other issues. Preprocessing is the process by which unstructured data is transformed into intelligible representations suitable for machine-learning models. This phase of model deals with noise in order to arrive at better and improved results from the original data set which was noisy. This dataset also has some level of missing value present in it. The preprocessing pipeline used can often have large effects on the conclusions drawn from the downstream analysis. Thus, representation and quality of data is necessary before running any analysis. If there is a high proportion of irrelevant and redundant information present or noisy and unreliable data, then knowledge discovery during the training phase may be more difficult. Data preparation and filtering steps can take a considerable amount of processing time. Examples of methods used in data preprocessing include cleaning, instance selection, normalization, one-hot encoding, data transformation, feature extraction and feature selection. == Applications == === Data mining === Data preprocessing allows for the removal of unwanted data with the use of data cleaning, this allows the user to have a dataset to contain more valuable information after the preprocessing stage for data manipulation later in the data mining process. Editing such dataset to either correct data corruption or human error is a crucial step to get accurate quantifiers like true positives, true negatives, false positives and false negatives found in a confusion matrix that are commonly used for a medical diagnosis. Users are able to join data files together and use preprocessing to filter any unnecessary noise from the data which can allow for higher accuracy. Users use Python programming scripts accompanied by the pandas library which gives them the ability to import data from a comma-separated values as a data-frame. The data-frame is then used to manipulate data that can be challenging otherwise to do in Excel. Pandas (software) which is a powerful tool that allows for data analysis and manipulation; which makes data visualizations, statistical operations and much more, a lot easier. Many also use the R programming language to do such tasks as well. The reason why a user transforms existing files into a new one is because of many reasons. Aspects of data preprocessing may include imputing missing values, aggregating numerical quantities and transforming continuous data into categories (data binning). More advanced techniques like principal component analysis and feature selection are working with statistical formulas and are applied to complex datasets which are recorded by GPS trackers and motion capture devices. === Semantic data preprocessing === Semantic data mining is a subset of data mining that specifically seeks to incorporate domain knowledge, such as formal semantics, into the data mining process. Domain knowledge is the knowledge of the environment the data was processed in. Domain knowledge can have a positive influence on many aspects of data mining, such as filtering out redundant or inconsistent data during the preprocessing phase. Domain knowledge also works as constraint. It does this by using working as set of prior knowledge to reduce the space required for searching and acting as a guide to the data. Simply put, semantic preprocessing seeks to filter data using the original environment of said data more correctly and efficiently. There are increasingly complex problems which are asking to be solved by more elaborate techniques to better analyze existing information. Instead of creating a simple script for aggregating different numerical values into a single value, it make sense to focus on semantic based data preprocessing. The idea is to build a dedicated ontology, which explains on a higher level what the problem is about. In regards to semantic data mining and semantic pre-processing, ontologies are a way to conceptualize and formally define semantic knowledge and data. The Protégé (software) is the standard tool for constructing an ontology. In general, the use of ontologies bridges the gaps between data, applications, algorithms, and results that occur from semantic mismatches. As a result, semantic data mining combined with ontology has many applications where semantic ambiguity can impact the usefulness and efficiency of data systems. Applications include the medical field, language processing, banking, and even tutoring, among many more. There are various strengths to using a semantic data mining and ontological based approach. As previously mentioned, these tools can help during the per-processing phase by filtering out non-desirable data from the data set. Additionally, well-structured formal semantics integrated into well designed ontologies can return powerful data that can be easily read and processed by machines. A specifically useful example of this exists in the medical use of semantic data processing. As an example, a patient is having a medical emergency and is being rushed to hospital. The emergency responders are trying to figure out the best medicine to administer to help the patient. Under normal data processing, scouring all the patient’s medical data to ensure they are getting the best treatment could take too long and risk the patients’ health or even life. However, using semantically processed ontologies, the first responders could save the patient’s life. Tools like a semantic reasoner can use ontology to infer the what best medicine to administer to the patient is based on their medical history, such as if they have a certain cancer or other conditions, simply by examining the natural language used in the patient's medical records. This would allow the first responders to quickly and efficiently search for medicine without having worry about the patient’s medical history themselves, as the semantic reasoner would already have analyzed this data and found solutions. In general, this illustrates the incredible strength of using semantic data mining and ontologies. They allow for quicker and more efficient data extraction on the user side, as the user has fewer variables to account for, since the semantically pre-processed data and ontology built for the data have already accounted for many of these variables. However, there are some drawbacks to this approach. Namely, it requires a high amount of computational power and complexity, even with relatively small data sets. This could result in higher costs and increased difficulties in building and maintaining semantic data processing systems. This can be mitigated somewhat if the data set is already well organized and formatted, but even then, the complexity is still higher when compared to standard data processing. Below is a simple a diagram combining some of the processes, in particular semantic data mining and their use in ontology. The diagram depicts a data set being broken up into two parts: the characteristics of its domain, or domain knowledge, and then the actual acquired data. The domain characteristics are then processed to become user understood domain knowledge that can be applied to the data. Meanwhile, the data set is processed and stored so that the domain knowledge can applied to it, so that the process may continue. This application forms the ontology. From there, the ontology can be used to analyze data and process results. Fuzzy preprocessing is another, more advanced technique for solving complex problems. Fuzzy preprocessing and fuzzy data mining make use of fuzzy sets. These data sets are composed of two elements: a set and a membership function for the set which comprises 0 and 1. Fuzzy preprocessing uses this fuzzy data set to ground numerical values with linguistic information. Raw data is then transformed into natural language. Ultimately, fuzzy data mining's goal is to help deal with inexact information, such as an incomplete database. Currently fuzzy preprocessing, as well as other fuzzy based data mining techniques see frequent use with neural networks and artificial intelligence.

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  Deepfake pornography

  Deepfake pornography is a form of non-consensual AI pornography created by altering existing photographs or videos using deepfake technology to modify the appearance of the participants. The use of deepfake pornography has sparked controversy because it involves the making and sharing of realistic videos featuring non-consenting individuals and is sometimes used for revenge porn. Many countries have criminalized this "new voyeurism" through legislative measures and technological solutions. == History == The term "deepfake" was coined in 2017 on a Reddit forum where users shared altered pornographic videos created using machine learning algorithms. It is a combination of the word "deep learning", which refers to the program used to create the videos, and "fake" meaning the videos are not real. Deepfake pornography was originally created on a small individual scale using a combination of machine learning algorithms, computer vision techniques, and AI software. The process began by gathering a large amount of source material (including both images and videos) of a person's face, and then using a deep learning model to train a Generative Adversarial Network to create a fake video that convincingly swaps the face of the source material onto the body of a pornographic performer. However, the production process has significantly evolved since 2018, with the advent of several public apps that have largely automated the process. While several AI "nudification" apps emerged on mainstream platforms like Google Play and the Apple App Store around 2023, major tech storefronts have since implemented stricter policies and automated detection to ban such software. Consequently, the proliferation of non-consensual deepfake pornography has largely shifted to decentralized websites, specialized online forums, and third-party messaging bot ecosystems. Deepfake pornography is sometimes confused with fake nude photography, but the two are mostly different. Fake nude photography typically uses non-sexual images and merely makes it appear that the people in them are nude. == Notable cases == Deepfake technology has been used to create non-consensual and pornographic images and videos of famous women. One of the earliest examples occurred in 2017 when a deepfake pornographic video of Gal Gadot was created by a Reddit user and quickly spread online. Since then, there have been numerous instances of similar deepfake content targeting other female celebrities, such as Emma Watson, Natalie Portman, and Scarlett Johansson. Johansson spoke publicly on the issue in December 2018, condemning the practice but also refusing legal action because she views the harassment as inevitable. === Rana Ayyub === In 2018, Rana Ayyub, an Indian investigative journalist, was the target of an online hate campaign stemming from her condemnation of the Indian government, specifically her speaking out against the rape of an eight-year-old Kashmiri girl. Ayyub was bombarded with rape and death threats, and had a doctored pornographic video of her circulated online. In a Huffington Post article, Ayyub discussed the long-lasting psychological and social effects this experience has had on her. She explained that she continued to struggle with her mental health and how the images and videos continued to resurface whenever she took a high-profile case. === Atrioc controversy === In 2023, Twitch streamer Atrioc stirred controversy when he accidentally revealed deepfake pornographic material featuring female Twitch streamers while on live. The influencer has since admitted to paying for AI generated porn, and apologized to the women and his fans. === Taylor Swift === In January 2024, AI-generated sexually explicit images of American singer Taylor Swift were posted on X (formerly Twitter), and spread to other platforms such as Facebook, Reddit and Instagram. One tweet with the images was viewed over 45 million times before being removed. A report from 404 Media found that the images appeared to have originated from a Telegram group, whose members used tools such as Microsoft Designer to generate the images, using misspellings and keyword hacks to work around Designer's content filters. After the material was posted, Swift's fans posted concert footage and images to bury the deepfake images, and reported the accounts posting the deepfakes. Searches for Swift's name were temporarily disabled on X, returning an error message instead. Graphika, a disinformation research firm, traced the creation of the images back to a 4chan community. A source close to Swift told the Daily Mail that she would be considering legal action, saying, "Whether or not legal action will be taken is being decided, but there is one thing that is clear: These fake AI-generated images are abusive, offensive, exploitative, and done without Taylor's consent and/or knowledge." The controversy drew condemnation from White House Press Secretary Karine Jean-Pierre, Microsoft CEO Satya Nadella, the Rape, Abuse & Incest National Network, and SAG-AFTRA. Several US politicians called for federal legislation against deepfake pornography. Later in the month, US senators Dick Durbin, Lindsey Graham, Amy Klobuchar and Josh Hawley introduced a bipartisan bill that would allow victims to sue individuals who produced or possessed "digital forgeries" with intent to distribute, or those who received the material knowing it was made non-consensually. === 2024 Telegram deepfake scandal === It emerged in South Korea in August 2024, that many teachers and female students were victims of deepfake images created by users who utilized AI technology. Journalist Ko Narin of The Hankyoreh uncovered the deepfake images through Telegram chats. On Telegram, group chats were created specifically for image-based sexual abuse of women, including middle and high school students, teachers, and even family members. Women with photos on social media platforms like KakaoTalk, Instagram, and Facebook are often targeted as well. Perpetrators use AI bots to generate fake images, which are then sold or widely shared, along with the victims' social media accounts, phone numbers, and KakaoTalk usernames. One Telegram group reportedly drew around 220,000 members, according to a Guardian report. Investigations revealed numerous chat groups on Telegram where users, mainly teenagers, create and share explicit deepfake images of classmates and teachers. The issue came in the wake of a troubling history of digital sex crimes, notably the notorious Nth Room case in 2019. The Korean Teachers Union estimated that more than 200 schools had been affected by these incidents. Activists called for a "national emergency" declaration to address the problem. South Korean police reported over 800 deepfake sex crime cases by the end of September 2024, a stark rise from just 156 cases in 2021, with most victims and offenders being teenagers. On September 21, 6,000 people gathered at Marronnier Park in northeastern Seoul to demand stronger legal action against deepfake crimes targeting women. On September 26, following widespread outrage over the Telegram scandal, South Korean lawmakers passed a bill criminalizing the possession or viewing of sexually explicit deepfake images and videos, imposing penalties that include prison terms and fines. Under the new law, those caught buying, saving, or watching such material could face up to three years in prison or fines up to 30 million won ($22,600). At the time the bill was proposed, creating sexually explicit deepfakes for distribution carried a maximum penalty of five years, but the new legislation would increase this to seven years, regardless of intent. By October 2024, it was estimated that "nudify" deep fake bots on Telegram were up to four million monthly users. === 2025–2026 Grok/X chatbot deepfake scandal === In December 2025, Bloomberg reported that X users found Grok would comply with unconsensual requests to digitally undress individuals, including minors, or show them performing sexually explicit acts. The majority of these prompts were targeted at women and girls. An analysis of 20,000 images generated by Grok between December 25, 2025 and January 1, 2026 showed 2% were of people in bikinis or transparent clothes and appeared to be 18 or younger, including 30 of "young or very young" women or girls. A separate analysis conducted over 24 hours from January 5 to 6 calculated that users had Grok create 6,700 sexually suggestive or nudified images per hour. xAI responded to requests for comment from media organizations with the automated reply, "Legacy Media Lies". The bot's image generation sparked an international backlash and calls for legal or regulatory action from officials in the European Union, United Kingdom, Poland, France, India, Malaysia, and Brazil. === Fernandes–Ulmen case === German TV presenter Collien Fernandes, filed a complaint against her ex-husband, actor Christian Ulmen, for several accusation including, ident

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  Rifts (role-playing game)

  Rifts is a multi-genre role-playing game created by Kevin Siembieda in August 1990 and published continuously by Palladium Books since then. It takes place in a post-apocalyptic future, deriving elements from cyberpunk, science fiction, fantasy, horror, western, mythology and many other genres. Rifts serves as a cross-over environment for a variety of other Palladium games with different universes connected through "rifts" on Earth that lead to different spaces, times, and realities that Palladium calls the "Rifts Megaverse". Rifts describes itself as an "advanced" role-playing game and not an introduction for those new to the concept. Palladium continues to publish books for the Rifts series, with about 80 books published between 1990 and 2011. Rifts Ultimate Edition was released in August 2005 and designed to update the game with Palladium's incremental changes to its system, changes in the game world, and additional information and character types. The web site is quick to point out that this is not a second edition but an improvement and expansion of the original role playing game. == Background == The RPG had the tentative title Boomers, named after the original name for the Glitter Boy power armor until Kevin Siembieda changed the name after finding out it was in use for Bubblegum Crisis. == Setting == The Rifts world is Earth, but hundreds of years into the future. Ley lines, lines of magic energy, criss-cross the earth forming supernatural geographic areas such as the Bermuda Triangle. Points where Ley Lines intersect, called a nexus, are places of powerful magic, such as the Pyramids of Giza and Stonehenge. If a Ley Line nexus energy surges or is purposely activated, the fabric of space and time can be torn, creating a rift - a hole in space-time leading to another place, time, or dimension. Ley lines contain magical energy called Potential Psychic Energy (PPE), which is found in various places, objects, and animals and is particularly strong in children. An adult's level of PPE can vary based on other factors. PPE also allows Psionics which uses energy known as Inner Strength Points or ISP. Psychic phenomenon (more commonly called psionics) can also vary from individuals, ranging from none at all to Master level abilities. Psychic abilities can manifest in virtually any way imaginable. Some psychics develop differently, such as psi-stalkers; human mutants that feed on psychic energy. === Earth === Rifts begins with two future-historical premises: first, a golden age of humanity occurs, with tremendous advances in science, technology, military, and society. Humanity as a whole is at peace as a majority of Earth's nations decide to cease world war and begin to share ideas and technology freely. Much of the Solar System is conquered, humanity's wars will end, and harmony will reign. This golden age is followed by an unknown cause near the winter solstice and a rare planetary alignment, causing a disaster that cascades into tremendous destruction via a ripple effect. The cataclysm begins with unprecedented storms, earthquakes, tsunamis, and volcanic eruptions, which kill millions of people. The Ley Line networks that crisscross the globe are energized, causing rifts to open both on Earth and throughout the Megaverse. For hundreds of years after the holocaust, many creatures, both mythical beasts and aliens, come through the Rifts to wreak havoc. The old world gone, a new Dark Age dawns and humanity's shrinking population is reduced, due to catastrophe and domestic failure, immeasurably. This period is covered in Palladium's Rifts Chaos Earth spin-off series. Rifts initially takes place in 101 P.A. (equivalent to the year 2387) 289 years after this event. The "Post-Apocalypse" calendar was established by the formation of the Coalition States in 2286. By this time, most of the disasters have quieted down, though Earth is still bathed in PPE. The planet's mystical energy has attracted aliens from other dimensions, who continue to arrive through the Rifts both accidentally and deliberately. The humanoid creatures that arrive on Earth are referred to as Dimensional Beings (called D-Bees). Some resemble familiar fantasy races, such as elves and dwarfs, while others were created specifically for the game setting. Non-humanoid creatures have also arrived, including monstrous creatures and mystical demons. To cope with these natural, supernatural, and alien menaces, the human race has adapted in a variety of ways, many of them borrowed from the technological developments of the lost Golden Age. Powered armor suits and giant vehicles are frequently used to combat the dangers of Rifts, but more invasive augmentation is common. This has three basic categories: "Juicers" augment themselves chemically, the "Borgs" augment themselves mechanically, and "Crazies" use performance-enhancing brain implants. All such augmentations boost strength, speed, endurance, and dexterity to superhuman levels. However, all come at great cost. Chemicals cause the body to wear out faster, decreasing life span to a few years. Mechanical Borg augmentation causes a loss of humanity when those with multiple limb and organ replacements become more machine than human. Brain implants cause mental instability ranging from mild phobias to crippling neurosis or psychosis. ==== North America ==== The strongest power in North America is the Coalition States (CS), which is based in the arcological city of Chi-Town and lays claim to northern Illinois, all of Iowa, the Texas Panhandle, Missouri, and the eastern half of Ontario, Canada. The second greatest power is Free Quebec, a former Coalition State that seceded following a civil war with the other Coalition States. Mexico is ruled by a group of vampire kingdoms, who treat humans as little more than food. North of the Rio Grande, west of Texas and roaming most of the American Southwest are large nomadic bands/tribes of bandits who collectively form the Pecos Empire, consisting of El Paso, Los Alamos, and Houstown. Much of the western United States has more or less willingly reverted to a mix of modern and past technology akin to the Wild West. The Royal Canadian Mounted Police managed to survive the great cataclysm, though Canada itself did not. The Mounties have become an independent law enforcement force called the Tundra Rangers, patrolling the northern wilderness. The Midwest, both upper and central, is home to most of North America's population. The Manistique Imperium and Northern Gun in Michigan's Upper Peninsula, both Coalition allies, are among the largest weapons manufacturing areas on the continent. New Lazlo is one of the largest cities in Michigan's southern portion. Chillicothe in Missouri is a large supplier of Coalition food processing and growing. Missouri's southern half, home to the city-states of Whykin (Poplar Bluff) and Kingsdale (West Plains) are in constant opposition to the CS and claim independence. Arkansas is home to the independent CS ally El Dorado. Southern Illinois and the Ohio Valley is home to the Federation of Magic. Also in the Ohio Valley is Psyscape, a city-state founded by psychics. Tolkeen was a major city in the former Minneapolis region in early Rifts books; the city welcomed users of magic. A military campaign made by the Coalition States (which is the primary event of 109 PA) resulted in the magic-user kingdom being wiped off the map. In the Northeast, the city-state of Lazlo, named after supernatural researcher and writer Victor Lazlo, was built upon the ruins of Toronto. This major center of civilization is well known as a melting pot of humans, D-Bees and other beings, and is the home of Techno-Wizardry. Mad Haven is the name given to the ruins of Manhattan; tectonic forces during the cataclysm have moved it into the coast, creating a peninsula. It is seen by most denizens of Rifts Earth as a refuge of demons and madness. ==== South America ==== The return of Atlantis caused the Amazon River basin to flood most of western South America, giving it the nickname The Land of a Thousand Islands. The Empire of the Sun, consisting of Cuzco, Nazca, Arequipa and Lima, created a wide range of technology and magic, including magic derived from the Nazca lines. In Argentina, the Silver River Republics of Cordoba (the South American Chi-Town), Santiago (one of the most tolerant human nations on Rifts Earth), Achilles (a nation founded by mutants), and New Babylon, a nation where humans and aliens coexist) have thrived and created nations whose strength rivals that of the CS. In Bolivia, freed Human and D-Bees formed the Megaversal Legion: a mercenary company with one of the highest levels of technology on Rifts Earth. ==== Europe ==== England has become a vast wilderness again, broken up by the occasional giant Millennium Tree or feudal kingdom, complete with a New Camelot and a new King Arthur, partially being manipulated by an alien intelligence disguised as Merlin. Also the magic of

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