Best AI Photo Editor

Best AI Photo Editor — hands-on reviews, top picks, pricing, pros and cons and a practical how-to guide on Aizhi.

  • Application-release automation

    Application-release automation

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

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  • 2025 Abu Dhabi Autonomous Racing League

    2025 Abu Dhabi Autonomous Racing League

    The 2025 season of the Abu Dhabi Autonomous Racing League began on 11 April 2025 in Abu Dhabi. This year marks the first multi-format season of the A2RL, racing both drones and self-driving cars. The venue of choice for the Car Race, set for 15 November 2025, is the Yas Marina Circuit, same as the previous year, while the Drone Race was held at the ADNEC Marina Hall. == Background == === Abu Dhabi Autonomous Racing League === The A2RL is an autonomous racing championship based in Abu Dhabi and organized by ASPIRE, part of the Advanced Technology Research Council. It is one of two active autonomous car racing championships, the second being the US-based Indy Autonomous Challenge. However, it was a shame fans were unable to follow the live stream on YouTube as promised. Unlike the IAC, which primarily focuses on time trials and simulated races, the A2RL's car races are closer to a standard grand prix formula race format. Both use Dallara-supplied racecars; the IAC uses the AV-24 chassis derived from Indy NXT's IL-15, while the A2RL chassis is designated EAV-24 and is derived from the SF-23 chassis used in Japanese Super Formula races. === Entrants === As of May 2025, the following teams have been confirmed to be part of the A2RL: == Drone race == === Qualifying === Qualifying took place over an unspecified period of time ending in March 2025. 14 teams qualified. === Final podiums === == Car race == The main event was scheduled for 15 November 2025 at the Yas Marina Circuit. === Pre-season testing === Pre-season testing took place in early 2025. According to the organizers, over 300 terabytes of data were gathered and 1640 laps were logged between all teams. === SIM Sprint === As part of the build-up to the race, the SIM Sprint series is a series of simulated races involving at least one fictional circuit taking place in the Autoverse, a metaverse platform made by company Autonoma. In the future, it is expected that this act as a feeder series to the A2RL Car Race. ==== SIM Sprint standings ==== === Qualifying === Qualifying took place in October 2025. The top 6 in the 3-kilometer short-course time trials qualified for the main race. ==== Qualifying report ==== Once the qualifying cars were determined, there were a pair of sprint races to set the grid for the main event. One race was disputed by the top three qualifying teams and determined the pole-sitting car and the other two cars' starting positions, the other was disputed among the teams that scored P4 though P6 in the time trials and determined the remaining grid positions. ==== Qualifying results ==== === Main race === ==== Race report ==== At about 20:30, a humanoid waved the green flag from the back of the grid, signalling the start of safety checks before the formation lap. It was a rolling start. On Lap 1, just a few corners after crossing the line, Hailey (for team Technical University of Munich, or TUM) and Gianna (for team Unimore) quickly pushed out front, with what the commentators described as “aggressive” from Gianna. On Lap 2 at Turn 6, Gianna dives up the inside of Hailey to take the lead. Hailey takes evasive action and slows down slightly. At the end of Lap 6/start of Lap 7, both Gianna and Hailey lap slow-moving Constructor AI (for Constructor University), now 35 seconds behind Eva (team PoliMove). Gianna was slowed down by Constructor AI, causing Hailey to close the gap to Gianna. On Lap 12, while trying to lap Constructor AI again and simultaneously defend from Hailey, Gianna rear-ended Constructor AI, causing Gianna to run into the barriers at Turn 1 and both cars to retire. This brought out a red flag, followed by a Full Course Yellow. During the Full Course Yellow, on Lap 13, Turn 5, Sparkz (for team Kinetiz) span, presumably from cold tyre temperatures (a big concern after 2024's race), and dropping from second place down to fourth and last of the remaining cars. On Lap 15, the green flag was shown, and the race was resumed. On Lap 20, Hailey took the chequered flag and won the race for team TUM, as they did in 2024. Musa for TII Racing came second, over 47 seconds behind Hailey. Eva for PoliMove finished third. ==== Final race classification ==== Source:

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  • Orion's Arm

    Orion's Arm

    The Orion's Arm Universe Project (OA) is a multi-authored online hard science fiction world-building project, first established in 2000 by M. Alan Kazlev, Donna Malcolm Hirsekorn, Bernd Helfert and Anders Sandberg and further co-authored by many people since. Anyone can contribute articles, stories, artwork, or music to the website. The first published Orion's Arm book, a collection of five novellas set within the OA universe, called Against a Diamond Sky, was released in September 2009. == Canon == The fictional setting of Orion's Arm takes place about 10,000 years in the future, where an interstellar civilization spread across thousands of light-years, with inhabited planets and space habitats. Its inhabitants range from humans to extensively modified human beings, including superhumans with advanced augmentations and internal AI systems, while most people exist as softwares. Engineered wormholes are used for interstellar travel and transport, although not for time travel. The setting also includes several alien civilizations and evidence of more advanced alien societies in the past. At its highest levels, directed human evolution has produced vast godlike beings linked across interstellar distances, capable of understanding and creating technologies beyond ordinary minds. == Reception == Orion's Arm has been reviewed in the role-playing magazine Knights of the Dinner Table, as well as on Boing Boing by transhumanist science fiction author Cory Doctorow. References to the Encyclopaedia Galactica have been made in a book on overcoming Librarian stereotypes. The Orion's Arm website has also been recommended in a children's teaching guide.

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  • Type-2 fuzzy sets and systems

    Type-2 fuzzy sets and systems

    Type-2 fuzzy sets and systems generalize standard type-1 fuzzy sets and systems so that more uncertainty can be handled. From the beginning of fuzzy sets, criticism was made about the fact that the membership function of a type-1 fuzzy set has no uncertainty associated with it, something that seems to contradict the word fuzzy, since that word has the connotation of much uncertainty. So, what does one do when there is uncertainty about the value of the membership function? The answer to this question was provided in 1975 by the inventor of fuzzy sets, Lotfi A. Zadeh, when he proposed more sophisticated kinds of fuzzy sets, the first of which he called a "type-2 fuzzy set". A type-2 fuzzy set lets us incorporate uncertainty about the membership function into fuzzy set theory, and is a way to address the above criticism of type-1 fuzzy sets head-on. And, if there is no uncertainty, then a type-2 fuzzy set reduces to a type-1 fuzzy set, which is analogous to probability reducing to determinism when unpredictability vanishes. Type1 fuzzy systems are working with a fixed membership function, while in type-2 fuzzy systems the membership function is fluctuating. A fuzzy set determines how input values are converted into fuzzy variables. == Overview == In order to symbolically distinguish between a type-1 fuzzy set and a type-2 fuzzy set, a tilde symbol is put over the symbol for the fuzzy set; so, A denotes a type-1 fuzzy set, whereas à denotes the comparable type-2 fuzzy set. When the latter is done, the resulting type-2 fuzzy set is called a "general type-2 fuzzy set" (to distinguish it from the special interval type-2 fuzzy set). Zadeh didn't stop with type-2 fuzzy sets, because in that 1976 paper he also generalized all of this to type-n fuzzy sets. The present article focuses only on type-2 fuzzy sets because they are the next step in the logical progression from type-1 to type-n fuzzy sets, where n = 1, 2, ... . Although some researchers are beginning to explore higher than type-2 fuzzy sets, as of early 2009, this work is in its infancy. The membership function of a general type-2 fuzzy set, Ã, is three-dimensional (Fig. 1), where the third dimension is the value of the membership function at each point on its two-dimensional domain that is called its "footprint of uncertainty"(FOU). For an interval type-2 fuzzy set that third-dimension value is the same (e.g., 1) everywhere, which means that no new information is contained in the third dimension of an interval type-2 fuzzy set. So, for such a set, the third dimension is ignored, and only the FOU is used to describe it. It is for this reason that an interval type-2 fuzzy set is sometimes called a first-order uncertainty fuzzy set model, whereas a general type-2 fuzzy set (with its useful third-dimension) is sometimes referred to as a second-order uncertainty fuzzy set model. The FOU represents the blurring of a type-1 membership function, and is completely described by its two bounding functions (Fig. 2), a lower membership function (LMF) and an upper membership function (UMF), both of which are type-1 fuzzy sets! Consequently, it is possible to use type-1 fuzzy set mathematics to characterize and work with interval type-2 fuzzy sets. This means that engineers and scientists who already know type-1 fuzzy sets will not have to invest a lot of time learning about general type-2 fuzzy set mathematics in order to understand and use interval type-2 fuzzy sets. Work on type-2 fuzzy sets languished during the 1980s and early-to-mid 1990s, although a small number of articles were published about them. People were still trying to figure out what to do with type-1 fuzzy sets, so even though Zadeh proposed type-2 fuzzy sets in 1976, the time was not right for researchers to drop what they were doing with type-1 fuzzy sets to focus on type-2 fuzzy sets. This changed in the latter part of the 1990s as a result of Jerry Mendel and his student's works on type-2 fuzzy sets and systems. Since then, more researchers around the world are writing articles about type-2 fuzzy sets and systems. == Interval type-2 fuzzy sets == Interval type-2 fuzzy sets have received the most attention because the mathematics that is needed for such sets—primarily Interval arithmetic—is much simpler than the mathematics that is needed for general type-2 fuzzy sets. The literature about interval type-2 fuzzy sets is large, whereas the literature about general type-2 fuzzy sets is much smaller. Both kinds of fuzzy sets are being actively researched by an ever-growing number of researchers around the world and have resulted in successful employment in a variety of domains such as robot control. Formally, the following have already been worked out for interval type-2 fuzzy sets: Fuzzy set operations: union, intersection and complement Centroid (a very widely used operation by practitioners of such sets, and also an important uncertainty measure for them) Other uncertainty measures [fuzziness, cardinality, variance and skewness and uncertainty bounds Similarity Subsethood Embedded fuzzy sets Fuzzy set ranking Fuzzy rule ranking and selection Type-reduction methods Firing intervals for an interval type-2 fuzzy logic system Fuzzy weighted average Linguistic weighted average Synthesizing an FOU from data that are collected from a group of subject == Interval type-2 fuzzy logic systems == Type-2 fuzzy sets are finding very wide applicability in rule-based fuzzy logic systems (FLSs) because they let uncertainties be modeled by them whereas such uncertainties cannot be modeled by type-1 fuzzy sets. A block diagram of a type-2 FLS is depicted in Fig. 3. This kind of FLS is used in fuzzy logic control, fuzzy logic signal processing, rule-based classification, etc., and is sometimes referred to as a function approximation application of fuzzy sets, because the FLS is designed to minimize an error function. The following discussions, about the four components in Fig. 3 rule-based FLS, are given for an interval type-2 FLS, because to-date they are the most popular kind of type-2 FLS; however, most of the discussions are also applicable for a general type-2 FLS. Rules, that are either provided by subject experts or are extracted from numerical data, are expressed as a collection of IF-THEN statements, e.g., IF temperature is moderate and pressure is high, then rotate the valve a bit to the right. Fuzzy sets are associated with the terms that appear in the antecedents (IF-part) or consequents (THEN-part) of rules, and with the inputs to and the outputs of the FLS. Membership functions are used to describe these fuzzy sets, and in a type-1 FLS they are all type-1 fuzzy sets, whereas in an interval type-2 FLS at least one membership function is an interval type-2 fuzzy set. An interval type-2 FLS lets any one or all of the following kinds of uncertainties be quantified: Words that are used in antecedents and consequents of rules—because words can mean different things to different people. Uncertain consequents—because when rules are obtained from a group of experts, consequents will often be different for the same rule, i.e. the experts will not necessarily be in agreement. Membership function parameters—because when those parameters are optimized using uncertain (noisy) training data, the parameters become uncertain. Noisy measurements—because very often it is such measurements that activate the FLS. In Fig. 3, measured (crisp) inputs are first transformed into fuzzy sets in the Fuzzifier block because it is fuzzy sets and not numbers that activate the rules which are described in terms of fuzzy sets and not numbers. Three kinds of fuzzifiers are possible in an interval type-2 FLS. When measurements are: Perfect, they are modeled as a crisp set; Noisy, but the noise is stationary, they are modeled as a type-1 fuzzy set; and, Noisy, but the noise is non-stationary, they are modeled as an interval type-2 fuzzy set (this latter kind of fuzzification cannot be done in a type-1 FLS). In Fig. 3, after measurements are fuzzified, the resulting input fuzzy sets are mapped into fuzzy output sets by the Inference block. This is accomplished by first quantifying each rule using fuzzy set theory, and by then using the mathematics of fuzzy sets to establish the output of each rule, with the help of an inference mechanism. If there are M rules then the fuzzy input sets to the Inference block will activate only a subset of those rules, where the subset contains at least one rule and usually way fewer than M rules. The inference is done one rule at a time. So, at the output of the Inference block, there will be one or more fired-rule fuzzy output sets. In most engineering applications of an FLS, a number (and not a fuzzy set) is needed as its final output, e.g., the consequent of the rule given above is "Rotate the valve a bit to the right." No automatic valve will know what this means because "a bit to the right" is a linguistic expression, and a valv

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  • Document classification

    Document classification

    Document classification or document categorization is a problem in library science, information science and computer science. The task is to assign a document to one or more classes or categories. This may be done "manually" (or "intellectually") or algorithmically. The intellectual classification of documents has mostly been the province of library science, while the algorithmic classification of documents is mainly in information science and computer science. The problems are overlapping, however, and there is therefore interdisciplinary research on document classification. The documents to be classified may be texts, images, music, etc. Each kind of document possesses its special classification problems. When not otherwise specified, text classification is implied. Documents may be classified according to their subjects or according to other attributes (such as document type, author, printing year etc.). In the rest of this article only subject classification is considered. There are two main philosophies of subject classification of documents: the content-based approach and the request-based approach. == "Content-based" versus "request-based" classification == Content-based classification is classification in which the weight given to particular subjects in a document determines the class to which the document is assigned. It is, for example, a common rule for classification in libraries, that at least 20% of the content of a book should be about the class to which the book is assigned. In automatic classification it could be the number of times given words appears in a document. Request-oriented classification (or -indexing) is classification in which the anticipated request from users is influencing how documents are being classified. The classifier asks themself: “Under which descriptors should this entity be found?” and “think of all the possible queries and decide for which ones the entity at hand is relevant” (Soergel, 1985, p. 230). Request-oriented classification may be classification that is targeted towards a particular audience or user group. For example, a library or a database for feminist studies may classify/index documents differently when compared to a historical library. It is probably better, however, to understand request-oriented classification as policy-based classification: The classification is done according to some ideals and reflects the purpose of the library or database doing the classification. In this way it is not necessarily a kind of classification or indexing based on user studies. Only if empirical data about use or users are applied should request-oriented classification be regarded as a user-based approach. == Classification versus indexing == Sometimes a distinction is made between assigning documents to classes ("classification") versus assigning subjects to documents ("subject indexing") but as Frederick Wilfrid Lancaster has argued, this distinction is not fruitful. "These terminological distinctions,” he writes, “are quite meaningless and only serve to cause confusion” (Lancaster, 2003, p. 21). The view that this distinction is purely superficial is also supported by the fact that a classification system may be transformed into a thesaurus and vice versa (cf., Aitchison, 1986, 2004; Broughton, 2008; Riesthuis & Bliedung, 1991). Therefore, assigning a subject term to a document in an index is equivalent to assigning that document to the class of documents indexed by that term (all documents indexed or classified as X belong to the same class of documents). == Automatic document classification (ADC) == Automatic document classification tasks can be divided into three sorts: supervised document classification where some external mechanism (such as human feedback) provides information on the correct classification for documents, unsupervised document classification (also known as document clustering), where the classification must be done entirely without reference to external information, and semi-supervised document classification, where parts of the documents are labeled by the external mechanism. There are several software products under various license models available. === Techniques === Automatic document classification techniques include: Artificial neural network Concept Mining Decision trees such as ID3 or C4.5 Expectation maximization (EM) Instantaneously trained neural networks Latent semantic indexing Multiple-instance learning Naive Bayes classifier Natural language processing approaches Rough set-based classifier Soft set-based classifier Support vector machines (SVM) K-nearest neighbour algorithms tf–idf == Applications == Classification techniques have been applied to spam filtering, a process which tries to discern E-mail spam messages from legitimate emails email routing, sending an email sent to a general address to a specific address or mailbox depending on topic language identification, automatically determining the language of a text genre classification, automatically determining the genre of a text readability assessment, automatically determining the degree of readability of a text, either to find suitable materials for different age groups or reader types or as part of a larger text simplification system sentiment analysis, determining the attitude of a speaker or a writer with respect to some topic or the overall contextual polarity of a document. health-related classification using social media in public health surveillance article triage, selecting articles that are relevant for manual literature curation, for example as is being done as the first step to generate manually curated annotation databases in biology

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  • Type-1 OWA operators

    Type-1 OWA operators

    Type-1 OWA operators are a set of aggregation operators that generalise the Yager's OWA (ordered weighted averaging) operators in the interest of aggregating fuzzy sets rather than crisp values in soft decision making and data mining. These operators provide a mathematical technique for directly aggregating uncertain information with uncertain weights via OWA mechanism in soft decision making and data mining, where these uncertain objects are modelled by fuzzy sets. The two definitions for type-1 OWA operators are based on Zadeh's Extension Principle and α {\displaystyle \alpha } -cuts of fuzzy sets. The two definitions lead to equivalent results. == Definitions == === Definition 1 === Let F ( X ) {\displaystyle F(X)} be the set of fuzzy sets with domain of discourse X {\displaystyle X} , a type-1 OWA operator is defined as follows: Given n linguistic weights { W i } i = 1 n {\displaystyle \left\{{W^{i}}\right\}_{i=1}^{n}} in the form of fuzzy sets defined on the domain of discourse U = [ 0 , 1 ] {\displaystyle U=[0,1]} , a type-1 OWA operator is a mapping, Φ {\displaystyle \Phi } , Φ : F ( X ) × ⋯ × F ( X ) ⟶ F ( X ) {\displaystyle \Phi \colon F(X)\times \cdots \times F(X)\longrightarrow F(X)} ( A 1 , ⋯ , A n ) ↦ Y {\displaystyle (A^{1},\cdots ,A^{n})\mapsto Y} such that μ Y ( y ) = sup ∑ k = 1 n w ¯ i a σ ( i ) = y ( μ W 1 ( w 1 ) ∧ ⋯ ∧ μ W n ( w n ) ∧ μ A 1 ( a 1 ) ∧ ⋯ ∧ μ A n ( a n ) ) {\displaystyle \mu _{Y}(y)=\displaystyle \sup _{\displaystyle \sum _{k=1}^{n}{\bar {w}}_{i}a_{\sigma (i)}=y}\left({\begin{array}{{1}l}\mu _{W^{1}}(w_{1})\wedge \cdots \wedge \mu _{W^{n}}(w_{n})\wedge \mu _{A^{1}}(a_{1})\wedge \cdots \wedge \mu _{A^{n}}(a_{n})\end{array}}\right)} where w ¯ i = w i ∑ i = 1 n w i {\displaystyle {\bar {w}}_{i}={\frac {w_{i}}{\sum _{i=1}^{n}{w_{i}}}}} , and σ : { 1 , ⋯ , n } ⟶ { 1 , ⋯ , n } {\displaystyle \sigma \colon \{1,\cdots ,n\}\longrightarrow \{1,\cdots ,n\}} is a permutation function such that a σ ( i ) ≥ a σ ( i + 1 ) , ∀ i = 1 , ⋯ , n − 1 {\displaystyle a_{\sigma (i)}\geq a_{\sigma (i+1)},\ \forall i=1,\cdots ,n-1} , i.e., a σ ( i ) {\displaystyle a_{\sigma (i)}} is the i {\displaystyle i} th highest element in the set { a 1 , ⋯ , a n } {\displaystyle \left\{{a_{1},\cdots ,a_{n}}\right\}} . === Definition 2 === Using the alpha-cuts of fuzzy sets: Given the n linguistic weights { W i } i = 1 n {\displaystyle \left\{{W^{i}}\right\}_{i=1}^{n}} in the form of fuzzy sets defined on the domain of discourse U = [ 0 , 1 ] {\displaystyle U=[0,\;\;1]} , then for each α ∈ [ 0 , 1 ] {\displaystyle \alpha \in [0,\;1]} , an α {\displaystyle \alpha } -level type-1 OWA operator with α {\displaystyle \alpha } -level sets { W α i } i = 1 n {\displaystyle \left\{{W_{\alpha }^{i}}\right\}_{i=1}^{n}} to aggregate the α {\displaystyle \alpha } -cuts of fuzzy sets { A i } i = 1 n {\displaystyle \left\{{A^{i}}\right\}_{i=1}^{n}} is: Φ α ( A α 1 , … , A α n ) = { ∑ i = 1 n w i a σ ( i ) ∑ i = 1 n w i | w i ∈ W α i , a i ∈ A α i , i = 1 , … , n } {\displaystyle \Phi _{\alpha }\left({A_{\alpha }^{1},\ldots ,A_{\alpha }^{n}}\right)=\left\{{{\frac {\sum \limits _{i=1}^{n}{w_{i}a_{\sigma (i)}}}{\sum \limits _{i=1}^{n}{w_{i}}}}\left|{w_{i}\in W_{\alpha }^{i},\;a_{i}}\right.\in A_{\alpha }^{i},\;i=1,\ldots ,n}\right\}} where W α i = { w | μ W i ( w ) ≥ α } , A α i = { x | μ A i ( x ) ≥ α } {\displaystyle W_{\alpha }^{i}=\{w|\mu _{W_{i}}(w)\geq \alpha \},A_{\alpha }^{i}=\{x|\mu _{A_{i}}(x)\geq \alpha \}} , and σ : { 1 , ⋯ , n } → { 1 , ⋯ , n } {\displaystyle \sigma :\{\;1,\cdots ,n\;\}\to \{\;1,\cdots ,n\;\}} is a permutation function such that a σ ( i ) ≥ a σ ( i + 1 ) , ∀ i = 1 , ⋯ , n − 1 {\displaystyle a_{\sigma (i)}\geq a_{\sigma (i+1)},\;\forall \;i=1,\cdots ,n-1} , i.e., a σ ( i ) {\displaystyle a_{\sigma (i)}} is the i {\displaystyle i} th largest element in the set { a 1 , ⋯ , a n } {\displaystyle \left\{{a_{1},\cdots ,a_{n}}\right\}} . == Representation theorem of Type-1 OWA operators == Given the n linguistic weights { W i } i = 1 n {\displaystyle \left\{{W^{i}}\right\}_{i=1}^{n}} in the form of fuzzy sets defined on the domain of discourse U = [ 0 , 1 ] {\displaystyle U=[0,\;\;1]} , and the fuzzy sets A 1 , ⋯ , A n {\displaystyle A^{1},\cdots ,A^{n}} , then we have that Y = G {\displaystyle Y=G} where Y {\displaystyle Y} is the aggregation result obtained by Definition 1, and G {\displaystyle G} is the result obtained by in Definition 2. == Programming problems for Type-1 OWA operators == According to the Representation Theorem of Type-1 OWA Operators, a general type-1 OWA operator can be decomposed into a series of α {\displaystyle \alpha } -level type-1 OWA operators. In practice, this series of α {\displaystyle \alpha } -level type-1 OWA operators is used to construct the resulting aggregation fuzzy set. So we only need to compute the left end-points and right end-points of the intervals Φ α ( A α 1 , ⋯ , A α n ) {\displaystyle \Phi _{\alpha }\left({A_{\alpha }^{1},\cdots ,A_{\alpha }^{n}}\right)} . Then, the resulting aggregation fuzzy set is constructed with the membership function as follows: μ G ( x ) = ⋁ α : x ∈ Φ α ( A α 1 , ⋯ , A α n ) α ⁡ α {\displaystyle \mu _{G}(x)=\operatorname {\bigvee } \limits _{\alpha :x\in \Phi _{\alpha }\left({A_{\alpha }^{1},\cdots ,A_{\alpha }^{n}}\right)_{\alpha }}\alpha } For the left end-points, we need to solve the following programming problem: Φ α ( A α 1 , ⋯ , A α n ) − = min W α − i ≤ w i ≤ W α + i A α − i ≤ a i ≤ A α + i ⁡ ∑ i = 1 n w i a σ ( i ) / ∑ i = 1 n w i {\displaystyle \Phi _{\alpha }\left({A_{\alpha }^{1},\cdots ,A_{\alpha }^{n}}\right)_{-}=\operatorname {\min } \limits _{\begin{array}{l}W_{\alpha -}^{i}\leq w_{i}\leq W_{\alpha +}^{i}A_{\alpha -}^{i}\leq a_{i}\leq A_{\alpha +}^{i}\end{array}}\sum \limits _{i=1}^{n}{w_{i}a_{\sigma (i)}/\sum \limits _{i=1}^{n}{w_{i}}}} while for the right end-points, we need to solve the following programming problem: Φ α ( A α 1 , ⋯ , A α n ) + = max W α − i ≤ w i ≤ W α + i A α − i ≤ a i ≤ A α + i ⁡ ∑ i = 1 n w i a σ ( i ) / ∑ i = 1 n w i {\displaystyle \Phi _{\alpha }\left({A_{\alpha }^{1},\cdots ,A_{\alpha }^{n}}\right)_{+}=\operatorname {\max } \limits _{\begin{array}{l}W_{\alpha -}^{i}\leq w_{i}\leq W_{\alpha +}^{i}A_{\alpha -}^{i}\leq a_{i}\leq A_{\alpha +}^{i}\end{array}}\sum \limits _{i=1}^{n}{w_{i}a_{\sigma (i)}/\sum \limits _{i=1}^{n}{w_{i}}}} A fast method has been presented to solve two programming problem so that the type-1 OWA aggregation operation can be performed efficiently, for details, please see the paper. == Alpha-level approach to Type-1 OWA operation == Three-step process: Step 1—To set up the α {\displaystyle \alpha } - level resolution in [0, 1]. Step 2—For each α ∈ [ 0 , 1 ] {\displaystyle \alpha \in [0,1]} , Step 2.1—To calculate ρ α + i 0 ∗ {\displaystyle \rho _{\alpha +}^{i_{0}^{\ast }}} Let i 0 = 1 {\displaystyle i_{0}=1} ; If ρ α + i 0 ≥ A α + σ ( i 0 ) {\displaystyle \rho _{\alpha +}^{i_{0}}\geq A_{\alpha +}^{\sigma (i_{0})}} , stop, ρ α + i 0 {\displaystyle \rho _{\alpha +}^{i_{0}}} is the solution; otherwise go to Step 2.1-3. i 0 ← i 0 + 1 {\displaystyle i_{0}\leftarrow i_{0}+1} , go to Step 2.1-2. Step 2.2 To calculate ρ α − i 0 ∗ {\displaystyle \rho _{\alpha -}^{i_{0}^{\ast }}} Let i 0 = 1 {\displaystyle i_{0}=1} ; If ρ α − i 0 ≥ A α − σ ( i 0 ) {\displaystyle \rho _{\alpha -}^{i_{0}}\geq A_{\alpha -}^{\sigma (i_{0})}} , stop, ρ α − i 0 {\displaystyle \rho _{\alpha -}^{i_{0}}} is the solution; otherwise go to Step 2.2-3. i 0 ← i 0 + 1 {\displaystyle i_{0}\leftarrow i_{0}+1} , go to step Step 2.2-2. Step 3—To construct the aggregation resulting fuzzy set G {\displaystyle G} based on all the available intervals [ ρ α − i 0 ∗ , ρ α + i 0 ∗ ] {\displaystyle \left[{\rho _{\alpha -}^{i_{0}^{\ast }},\;\rho _{\alpha +}^{i_{0}^{\ast }}}\right]} : μ G ( x ) = ⋁ α : x ∈ [ ρ α − i 0 ∗ , ρ α + i 0 ∗ ] ⁡ α {\displaystyle \mu _{G}(x)=\operatorname {\bigvee } \limits _{\alpha :x\in \left[{\rho _{\alpha -}^{i_{0}^{\ast }},\;\rho _{\alpha +}^{i_{0}^{\ast }}}\right]}\alpha } == Some Examples == The type-1 OWA operator with the weights shown in the top figure is used to aggregate the fuzzy sets (solide lines) in the bottom figure, and the dashed line is the aggregation result. == Special cases == Any OWA operators, like maximum, minimum, mean operators; Join operators of (type-1) fuzzy sets, i.e., fuzzy maximum operators; Meet operators of (type-1) fuzzy sets, i.e., fuzzy minimum operators; Join-like operators of (type-1) fuzzy sets; Meet-like operators of (type-1) fuzzy sets. == Generalizations == Type-2 OWA operators have been suggested to aggregate the type-2 fuzzy sets for soft decision making. == Applications == Type-1 OWA operators have been applied to different domains for soft decision making. Improved efficiency of computing approach ; Type reduction of type-2 fuzzy sets ; Group decision making ; Credit risk evaluation ; Information fusion ; Linguistic expressions and symbolic translation ; Sentiment analysis ; Ro

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  • Dominic Harris

    Dominic Harris

    Dominic Harris (born 16 November 1976) is a British artist known for integrating modern technology and classical design in his interactive artworks. == Background == Dominic Harris was born in London on 16 November 1976, and grew up in London, Brussels, and Michigan before returning to London in 1995. Harris attended the Cranbrook Kingswood Upper School, and then trained as an architect at the Bartlett School of Architecture, and has been ARB registered since 2011. Harris designs and fabricates his artworks at Dominic Harris Studio, a multi-disciplinary practice he founded in 2007. This studio consists of 25 people with diverse backgrounds including architecture, product design, electronics, programming, graphic design, and workshop skills. Harris uses the resources of his studio for the ongoing development, prototyping and production of his artworks. Harris also oversees the studio's international projects where his fascinations are translated into larger scale projects that span residential, retail, and public art projects. In 2015, Harris was granted permission by the Walt Disney Company to use their Intellectual Property for the purpose of making new interactive artworks. Harris is the only artist to gain permission to use Disney's back catalogue of characters, and led him to creating his interactive versions of "Snow White and the Seven Dwarfs" and "Mickey and Minnie: An Interactive Diptych". Harris is fascinated by the idea of using data streams, algorithms, and computer code to generate dynamic and ever-changing artworks. He sees data as a raw material that can be transformed into visual poetry. Many of his installations and sculptures are interactive, responding to the presence and movement of viewers/participants. This creates an immersive experience where the observer becomes part of the artwork itself. Harris is also the founding partner of a sister studio in London called Cinimod Studio that creates large commissioned installations, interactive events and lighting designs for large brands. == Works == == Exhibitions == The works of Dominic Harris have been exhibited internationally, both through direct and gallery representation. Solo shows: "Feeding Consciousness" at Halcyon Gallery, Mayfair, London, UK – 2023 "US: NOW" at Halcyon Gallery, Mayfair, London, UK – 2020 "Imagine" at Halcyon Gallery, Mayfair, London, UK – 2019 "5 Year Celebration", Priveekollektie Contemporary Art | Design, London, UK – 2016. "Moments of Reflection" at PHOS ART + DESIGN, Mayfair, London, UK – 2015 Recent exhibitions include: In Plain Sight, 2024 Halcyon Gallery Victoria & Albert Museum Dublin Science Museum Design Miami / Basel Design Miami Art Miami Art 14, London PAD Paris PAD London Art Geneva == Gallery Representation == 2010 to 2019: Dominic Harris was represented by Priveekollektie Contemporary Art | Design, a Dutch gallery based in Heusden, the Netherlands, and with a regular presence on the international art and design circuits. 2015: Dominic Harris was shown with PHOS ART + DESIGN Gallery, in Mayfair, London, UK. 2019 – ongoing: Dominic Harris is exclusively represented by the Halcyon Gallery, an established international gallery based in Mayfair, London. == Collections == The majority of Harris's work has been bought by private collectors. Since 2012 Harris's work is also being acquired by several large institutional collections, including the Borusan Contemporary Art Collection in Istanbul. Harris's artworks include some of the biggest and most respected international art collectors and are also displayed in public spaces. == Books == Dominic Harris: Feeding Consciousness. Halcyon Gallery, 2023. Imagine: Dominic Harris (exhibition catalogue). Halcyon Gallery, 2019. A Touch Of Code: Documents the "Beacon" art installation and "Flutter" artwork (ISBN 978-3899553314) Dominic Harris, Artworks, Edition Eight. (ISBN 978-0957306325) Digital Real: Kunst & Nachhaltigkeit Vol 8.

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  • A Fire Upon the Deep

    A Fire Upon the Deep

    A Fire Upon the Deep is a 1992 science fiction novel by American writer Vernor Vinge. It is a space opera involving superhuman intelligences, aliens, variable physics, space battles, love, betrayal, genocide, and a communication medium resembling Usenet. A Fire Upon the Deep won the Hugo Award in 1993, sharing it with Doomsday Book by Connie Willis. Besides the normal print book editions, the novel was also included on a CD-ROM sold by ClariNet Communications along with the other nominees for the 1993 Hugo awards. The CD-ROM edition included numerous annotations by Vinge on his thoughts and intentions about different parts of the book, and was later released as a standalone e-book. It has a loose prequel, A Deepness in the Sky, from 1999, and a direct sequel, The Children of the Sky, from 2012. == Setting == The novel is set in various locations within the Milky Way. The galaxy is divided into four concentric volumes called the "Zones of Thought"; it is not clear to the novel's characters whether this is a natural phenomenon or an artificially created one. Each Zone has fundamental differences in basic physical laws. One of the main consequences of these differences is the effect on intelligence. Artificial intelligence and automation is most directly affected, in that advanced hardware and software from the Beyond or the Transcend will work less and less well as a ship descends towards the Unthinking Depths. Biological intelligence is affected to a lesser degree. The four zones are spoken of in terms of "low" to "high" as follows: The Unthinking Depths are the innermost zone, surrounding the Galactic Center. In it, only minimal forms of intelligence, biological or otherwise, are possible. This means that any ship straying into the Depths will be stranded, effectively permanently. Even if the crew did not die immediately—and some forms of life native to "higher" Zones would likely do so—they would be rendered incapable of even human intelligence, leaving them unable to operate their ship in any meaningful way. Surrounding the Depths is the Slow Zone or Slowness. "Old Earth" is in this Zone, although Earth plays no significant role in the story. Biological intelligence is possible in "the Slowness", but not true, sentient, artificial intelligence. Faster than light travel (FTL) is impossible in the Slow Zone. Faster-than-light communication is impossible into or out of the Slow Zone. As the boundaries of the Zones are subject to change, accidental entry into the Slow Zone is a major hazard at the "Bottom" of the Beyond. Starships which operate near the Beyond/Slow Zone border often have an auxiliary Bussard ramjet drive, so that if they accidentally stray into the Slow Zone, they will at least have a backup (sub-light) drive to try to reach the Beyond. Such ships also tend to include "coldsleep" equipment, as it is likely that any such return will still take many lifetimes for most species. The next layer outward is the Beyond, within which artificial intelligence, FTL travel, and FTL communication are possible. All human civilizations in the Beyond are descended from a single ethnic Norwegian group. The original settlement of this group is known as Nyjora; other human settlements in the Beyond include Straumli Realm and Sjandra Kei. In the Beyond, FTL travel is accomplished by making many small "jumps" across space, with the efficiency of the drive increasing the farther a ship travels from the galactic core. The Beyond is not a homogeneous zone; it includes the "High Beyond", "Middle Beyond", and the "Bottom of the Beyond", depending on distance from the galactic core. The Beyond is populated by a very large number of interstellar and intergalactic civilizations which are linked by an FTL communication network, "the Net", sometimes cynically called the "Net of a Million Lies". The Net is depicted as working much like the Usenet network in the early 1990s, with transcripts of messages containing header and footer information as one would find in such forums. The outermost layer, containing the galactic halo, is the Transcend, within which incomprehensible, superintelligent beings dwell. When a "Beyonder" civilization reaches the point of technological singularity, it can "Transcend", becoming a "Power". Such Powers always seem to relocate to the Transcend, seemingly necessarily, where they become engaged in activities which are entirely mysterious to those in the Beyond. == Plot == An expedition from Straumli Realm, a human civilization in the High Beyond, investigates a newly discovered data archive in the Low Transcend. The expedition's facility, High Lab, is gradually compromised by a superintelligence that is accidentally awoken by the researchers. This superintelligence is later known as the Blight. Shortly before the Blight's final "flowering", two self-aware entities, created similarly to the Blight, plot to aid the humans before the Blight can gain its full powers. Finally recognizing their danger, the High Lab researchers attempt to flee in two ships. The Blight destroys one ship; a second ship, carrying many High Lab children in coldsleep boxes, escapes. This ship lands on a distant planet at the Bottom of the Beyond. The planet is occupied by dog-like creatures, dubbed "Tines", who live in packs as group minds. The Tines have a level of technology comparable to the human Middle Ages. Upon landing, however, the two surviving adults, Arne and Sjana Olnsdot, are ambushed and killed by Tine fanatics known as Flenserists, in whose realm they have landed. The Flenserists capture their children, Jefri and Johanna. Johanna is rescued by a Tine named Peregrine and taken to a neighboring kingdom ruled by Woodcarver. A distress signal from the Straumli ship eventually reaches Relay, a major information provider for the Net. A Transcendent being named "Old One" contacts Relay, seeking information about the Blight and the humans who released it. Old One then reconstitutes a human man named Pham Nuwen from the wreckage of a spaceship to act as its agent. Pham remains unsure if he is a construct or if his memories are real. Ravna Bergsndot, the only human Relay employee, traces the Straumli ship's signal to the Tines' world and persuades her employer to investigate. Ravna contracts the merchant vessel Out of Band II to transport her and Pham. The ship is owned by two Skroderiders, Blueshell and Greenstalk. Before the mission is launched, the Blight launches a surprise attack on Relay and kills Old One. As Old One dies, it downloads its anti-Blight information into Pham. Pham, Ravna and the Skroderiders barely escape Relay's destruction in the Out of Band II. During their journey to Tine's World, Ravna communicates with Jefri. Jefri is manipulated to believe that Woodcarver is his enemy. The Flenserist leaders, Steel and Tyrathect, use Ravna's information to develop advanced technology such as cannon and radio communication. Meanwhile, Johanna and the knowledge stored in her dataset device help Woodcarver rapidly develop as well. The Blight expands, taking over several civilizations, brainwashing their populations, and seizing archives in the Beyond. On the Net, some claim that humans are the means by which the Blight is able to spread. Anti-human fanatics destroy the entire civilization of Sjandra Kei, which is Ravna's home world. The Out of Band II is pursued by three fleets: anti-human fanatics, survivors from Sjandra Kei, and a shadow fleet controlled by the Blight. During the pursuit, Ravna and Pham learn that every member of the Skroderider species can be subverted by the Blight; this drives a wedge between the crew members. Ships from Sjandra Kei sacrifice themselves to delay the Blight and the anti-human ships, allowing the Out of Band II to reach Tine's World before the Blight. When the Out of Band II arrives at Tine's World, the humans ally with Woodcarver to defeat the Flenserists and rescue Jefri. Blueshell sacrifices himself to rescue Jefri. Pham then initiates an anti-Blight Countermeasure, which was aboard the humans' ship. The Countermeasure extends the Slow Zone outward by thousands of light years. This envelops and destroys the Blight, but results in the destruction of thousands of civilizations and trillions of deaths. The humans are stranded on the Tines' World, now in the depths of the Slow Zone. Activating the Countermeasure proves fatal to Pham, but before he dies, the remnant of Old One reveals to him that, although his body is a reconstruction, his memories are indeed real. == Related works == Vinge first used the concepts of "Zones of Thought" in a 1988 novella The Blabber, which occurs after Fire. Vinge's novel A Deepness in the Sky (1999) is a prequel to A Fire Upon the Deep set 20,000 years earlier and featuring Pham Nuwen. Vinge's The Children of the Sky, "a near-term sequel to A Fire Upon the Deep", set ten years later, was released in October 2011. Vinge's former wife, Joan D. Vinge, has also written s

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  • ChatGPT

    ChatGPT

    ChatGPT is a generative artificial intelligence chatbot developed by OpenAI. Originally released in November 2022, the product uses large language models—specifically generative pre-trained transformers (GPTs)—to generate text, speech, and images in response to user prompts. ChatGPT accelerated the AI boom, an ongoing period marked by rapid investment and public attention toward the field of artificial intelligence (AI). OpenAI operates the service on a freemium model. Users can interact with ChatGPT through text, audio, and image prompts. ChatGPT was quickly adopted, reaching 100 million monthly active users two months after its release and 900 million weekly active users in February 2026. It has been lauded for its potential to transform numerous professional fields, and has instigated public debate about the nature of creativity and the future of knowledge work. The chatbot has also been criticized for its limitations and potential for unethical use. It can generate plausible-sounding but incorrect or nonsensical answers, known as hallucinations. Biases in its training data have been reflected in its responses. The chatbot can facilitate academic dishonesty, generate misinformation, and create malicious code. The ethics of its development, particularly the use of copyrighted content as training data, have also drawn controversy. == Features == ChatGPT is a chatbot and AI assistant built on large language model (LLM) technology. It is designed to generate human-like text and can carry out a wide variety of tasks. These include, among many others, writing and debugging computer programs, composing music, scripts, fairy tales, and essays, answering questions (sometimes at a level exceeding that of an average human test-taker), and generating business concepts. ChatGPT is frequently used for translation and summarization tasks, and can simulate interactive environments such as a Linux terminal, a multi-user chat room, or simple text-based games such as tic-tac-toe. Users interact with ChatGPT through conversations which consist of text, audio, and image inputs and outputs. The user's inputs to these conversations are referred to as prompts. An optional "Memory" feature allows users to tell ChatGPT to memorize specific information. Another option allows ChatGPT to recall old conversations. GPT-based moderation classifiers are used to reduce the risk of harmful outputs being presented to users. In March 2023, OpenAI added support for plugins for ChatGPT. This includes both plugins made by OpenAI, such as web browsing and code interpretation, and external plugins from developers such as Expedia, OpenTable, and Zapier. From October to December 2024, ChatGPT Search was deployed. It allows ChatGPT to search the web in an attempt to make more accurate and up-to-date responses. It increased OpenAI's direct competition with major search engines. OpenAI allows businesses to tailor how their content appears in the ChatGPT Search results and influence what sources are used. In December 2024, OpenAI launched a new feature allowing users to call ChatGPT with a telephone for up to 15 minutes per month for free. In September 2025, OpenAI added a feature called Pulse, which generates a daily analysis of a user's chats and connected apps such as Gmail and Google Calendar. In October 2025, OpenAI launched ChatGPT Atlas, a browser integrating the ChatGPT assistant directly into web navigation, to compete with existing browsers such as Google Chrome. It has an additional feature called "agentic mode" that allows it to take online actions for the user. === Paid tier === ChatGPT was initially free to the public and remains free in a limited capacity. In February 2023, OpenAI launched a premium service, ChatGPT Plus, that costs US$20 per month. What was offered on the paid plan versus the free tier changed as OpenAI has continued to update ChatGPT, and a Pro tier at $200/mo was introduced in December 2024. The Pro launch coincided with the release of the o1 model. In August 2025, ChatGPT Go was offered in India for ₹399 per month. The plan has higher limits than the free version. === Mobile apps === In May-July 2023, OpenAI began offering ChatGPT iOS and Android apps. ChatGPT can also power Android's assistant. An app for Windows launched on the Microsoft Store on October 15, 2024. === Languages === OpenAI met Icelandic President Guðni Th. Jóhannesson in 2022. In 2023, OpenAI worked with a team of 40 Icelandic volunteers to fine-tune ChatGPT's Icelandic conversation skills as a part of Iceland's attempts to preserve the Icelandic language. ChatGPT (based on GPT-4) was better able to translate Japanese to English when compared to Bing, Bard, and DeepL Translator in 2023. In December 2023, the Albanian government decided to use ChatGPT for the rapid translation of European Union documents and the analysis of required changes needed for Albania's accession to the EU. Several studies have shown that ChatGPT can outperform Google Translate in some mainstream translation tasks. However, as of 2024, no machine translation services match human expert performance. In August 2024, a representative of the Asia Pacific wing of OpenAI made a visit to Taiwan, during which a demonstration of ChatGPT's Chinese abilities was made. ChatGPT's Mandarin Chinese abilities were lauded, but the ability of the AI to produce content in Mandarin Chinese in a Taiwanese accent was found to be "less than ideal" due to differences between mainland Mandarin Chinese and Taiwanese Mandarin. === GPT Store === In November 2023, OpenAI released GPT Builder, a tool allowing users to customize ChatGPT's behavior for a specific use case. The customized systems are referred to as GPTs. In January 2024, OpenAI launched the GPT Store, a marketplace for GPTs. At launch, OpenAI included more than 3 million GPTs created by GPT Builder users in the GPT Store. === ChatGPT Apps === In September 2025, OpenAI added support for Model Context Protocol (MCP) to ChatGPT apps. When enabled in developer mode, this allows for improved third-party access to ChatGPT tools and servers. === Deep Research === In February 2025, OpenAI released Deep Research, a feature that generates reports based on extensive web searches. It was initially based on the reasoning model o3 and took 5 to 30 minutes per report. === Images === In October 2023, OpenAI's image generation model DALL-E 3 was integrated into ChatGPT. The integration used ChatGPT to write prompts for DALL-E guided by conversations with users. In March 2025, OpenAI updated ChatGPT to generate images using GPT Image instead of DALL-E. One of the most significant improvements was in the generation of text within images, which is especially useful for branded content. However, this ability is noticeably worse in non-Latin alphabets. The model can also generate new images based on existing ones provided in the prompt. These images are generated with C2PA metadata, which can be used to verify that they are AI-generated. OpenAI has emplaced additional safeguards to prevent what the company deems to be harmful image generation. === Agents === In 2025, OpenAI added several features to make ChatGPT more agentic (capable of autonomously performing longer tasks). In January, Operator was released. It was capable of autonomously performing tasks through web browser interactions, including filling forms, placing online orders, scheduling appointments, and other browser-based tasks. It was controlling a software environment inside a virtual machine with limited internet connectivity and with safety restrictions. It struggled with complex user interfaces. In May 2025, OpenAI introduced an agent for coding named Codex. It is capable of writing software, answering codebase questions, running tests, and proposing pull requests. It is based on a fine-tuned version of OpenAI o3. It has two versions, one running in a virtual machine in the cloud, and one where the agent runs in the cloud, but performs actions on a local machine connected via API. In July 2025, OpenAI released ChatGPT agent, an AI agent that can perform multi-step tasks. Like Operator, it controls a virtual computer. It also inherits from Deep Research's ability to gather and summarize significant volumes of information. The user can interrupt tasks or provide additional instructions as needed. In September 2025, OpenAI partnered with Stripe, Inc. to release Agentic Commerce Protocol, enabling purchases through ChatGPT. At launch, the feature was limited to purchases on Etsy from US users with a payment method linked to their OpenAI account. OpenAI takes an undisclosed cut from the merchant's payment. === ChatGPT Health === On January 7, 2026, OpenAI introduced a feature called "ChatGPT Health", whereby ChatGPT can discuss the user's health in a way that is separate from other chats. The feature is not available for users in the United Kingdom, Switzerland, or the European Economic Area, and is available on a waitli

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  • Midjourney

    Midjourney

    Midjourney is a generative artificial intelligence program and service created and hosted by the San Francisco–based "independent research lab" Midjourney, Inc. Midjourney generates images from natural language descriptions, called prompts, similar to OpenAI's DALL-E and Stability AI's Stable Diffusion. It is one of the technologies of the AI boom. The tool was launched into open beta on July 12, 2022. The Midjourney team is led by David Holz, who co-founded Leap Motion. Holz told The Register in August 2022 that the company was already profitable. Users generate images with Midjourney using Discord bot commands or the official website. == History == Midjourney, Inc. was founded in San Francisco, California, by David Holz, previously a co-founder of Leap Motion. The Midjourney image generation platform entered open beta on July 12, 2022. On March 14, 2022, the Midjourney Discord server launched with a request to post high-quality photographs to Twitter and Reddit for systems training. === Model versions === The company has been working on improving its algorithms, releasing new model versions every few months. Version 2 of their algorithm was launched in April 2022, and version 3 on July 25. On November 5, 2022, the alpha iteration of version 4 was released to users. Starting from the 4th version, MJ models were trained on Google TPUs. On March 15, 2023, the alpha iteration of version 5 was released. The 5.1 model is more opinionated than version 5, applying more of its own stylization to images, while the 5.1 RAW model adds improvements while working better with more literal prompts. The version 5.2 included a new "aesthetics system", and the ability to "zoom out" by generating surroundings to an existing image. On December 21, 2023, the alpha iteration of version 6 was released. The model was trained from scratch over a nine month period. Support was added for better text rendition and a more literal interpretation of prompts. == Functionality == Midjourney is accessible through a Discord bot or by accessing their website. Users can use Midjourney through Discord either through their official Discord server, by directly messaging the bot, or by inviting the bot to a third-party server. To generate images, users use the /imagine command and type in a prompt; the bot then returns a set of four images, which users are given the option to upscale. To generate images on the website, users initially needed to have generated at least 1,000 images through the bot; this limitation has since been removed. === Vary (Region) + remix feature === Midjourney released a Vary (Region) feature on September 5, 2023, as part of MidJourney V5.2. This feature allows users to select a specific area of an image and apply variations only to that region while keeping the rest of the image unchanged. === Midjourney web interface === Midjourney introduced its web interface to make its tools more accessible, moving beyond its initial reliance on Discord. This web-based platform was launched in August 2024 alongside the release of Midjourney version 6.1. The web editor consolidates tools such as image editing, panning, zooming, region variation, and inpainting into a single interface. The introduction of the web interface also syncs conversations between Midjourney's Discord channels and web rooms, further enhancing collaboration across both platforms. This shift was in response to growing competition from other AI image generation platforms like Adobe Firefly and Google’s Imagen, which had already launched as native web apps with integration into popular design tools. === Image Weight === This feature lets users control how much influence an uploaded image has on the final output. By adjusting the "image weight" parameter, users can prioritize either the content of the prompt or the characteristics of the image. For instance, setting a higher weight will ensure that the generated result closely follows the image's structure and details, while a lower weight allows the text prompt to have more influence over the final output. === Style Reference === With Style Reference, users can upload an image to use as a stylistic guide for their creation. This tool enables MidJourney to extract the style—whether it is the color palette, texture, or overall atmosphere—from the reference image and apply it to a newly generated image. The feature allows users to fine-tune the aesthetics of their creations by integrating specific artistic styles or moods. === Character Reference === The Character Reference feature allows for a more targeted approach in defining characters. Users can upload an image of a character, and the system uses that image as a reference to generate similar characters in the output. This feature is particularly useful in maintaining consistency in appearance for characters across different images. == Uses == Midjourney's founder, David Holz, told The Register that artists use Midjourney for rapid prototyping of artistic concepts to show to clients before starting work themselves. The advertising industry quickly adopted AI tools such as Midjourney, DALL-E, and Stable Diffusion to create original content and brainstorm ideas. Architects have described using the software to generate mood boards for the early stages of projects, as an alternative to searching Google Images. === Notable usage and controversy === The program was used by the British magazine The Economist to create the front cover for an issue in June 2022. In Italy, the leading newspaper Corriere della Sera published a comic created with Midjourney by writer Vanni Santoni in August 2022. Charlie Warzel used Midjourney to generate two images of Alex Jones for Warzel's newsletter in The Atlantic. The use of an AI-generated cover was criticised by people who felt it was taking jobs from artists. Warzel called his action a mistake in an article about his decision to use generated images. Last Week Tonight with John Oliver included a 10-minute segment on Midjourney in an episode broadcast in August 2022. A Midjourney image called Théâtre D'opéra Spatial won first place in the digital art competition at the 2022 Colorado State Fair. Jason Allen, who wrote the prompt that led Midjourney to generate the image, printed the image onto a canvas and entered it into the competition using the name Jason M. Allen via Midjourney. Other digital artists were upset by the news. Allen was unapologetic, insisting that he followed the competition's rules. The two category judges were unaware that Midjourney used AI to generate images, although they later said that had they known this, they would have awarded Allen the top prize anyway. In December 2022, Midjourney was used to generate the images for an AI-generated children's book that was created over a weekend. Titled Alice and Sparkle, the book features a young girl who builds a robot that becomes self-aware. The creator, Ammaar Reeshi, used Midjourney to generate a large number of images, from which he chose 13 for the book. Both the product and process drew criticism. One artist wrote that "the main problem... is that it was trained off of artists' work. It's our creations, our distinct styles that we created, that we did not consent to being used." In 2023, the realism of AI-based text-to-image generators, such as Midjourney, DALL-E, or Stable Diffusion, reached such a high level that it led to a significant wave of viral AI-generated photos. Widespread attention was gained by a Midjourney-generated photo of Pope Francis wearing a white puffer coat, the fictional arrest of Donald Trump, and a hoax of an attack on the Pentagon, as well as the usage in professional creative arts. Research has suggested that the images Midjourney generates can be biased. For example, even neutral prompts in one study returned unequal results on the aspects of gender, skin color, and location. A study by researchers at the nonprofit group Center for Countering Digital Hate found the tool to be easy to use to generate racist and conspiratorial images. In October 2023, Rest of World reported that Midjourney tends to generate images based on national stereotypes. In 2024, a Frontiers journal published a paper which contained gibberish figures generated with Midjourney, one of which was a diagram of a rat with large testicles and a large penis towering over himself. The paper was retracted a day after the images went viral on Twitter. ==== Content moderation and censorship in Midjourney ==== Prior to May 2023, Midjourney implemented a moderation mechanism predicated on a banned word system. This method prohibited the use of language associated with explicit content, such as sexual or pornographic themes, as well as extreme violence. Moreover, the system also banned certain individual words, including those of religious and political figures, such as Allah or General Secretary of the Chinese Communist Party Xi Jinping. This practice occasionally stirred controversy due to perceiv

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  • Artificial intelligence in fiction

    Artificial intelligence in fiction

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

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  • Flux (text-to-image model)

    Flux (text-to-image model)

    Flux (also known as FLUX.1 and FLUX.2) is a text-to-image model developed by Black Forest Labs (BFL), based in Freiburg im Breisgau, Germany. Black Forest Labs was founded by former employees of Stability AI. As with other text-to-image models, Flux generates images from natural language descriptions, called prompts. == History == Black Forest Labs (BFL) was founded in 2024 by Robin Rombach, Andreas Blattmann, and Patrick Esser, former employees of Stability AI. All three founders had previously researched the artificial intelligence image generation at LMU Munich as research assistants under Björn Ommer. They published their research results on image generation in 2022, which resulted in creation of Stable Diffusion. Investors in BFL included venture capital firm Andreessen Horowitz, Brendan Iribe, Michael Ovitz, Garry Tan, and Vladlen Koltun. The company received an initial investment of US$31 million. In August 2024, Flux was integrated into the Grok chatbot developed by xAI and made available as part of premium feature on X (formerly Twitter). Grok later switched to its own text-to-image model Aurora in December 2024. On 18 November 2024, Mistral AI announced that its Le Chat chatbot had integrated Flux Pro as its image generation model. On 21 November 2024, BFL announced the release of Flux.1 Tools, a suite of editing tools designed to be used on top of existing Flux models. The tools consisting of Flux.1 Fill for inpainting and outpainting, Flux.1 Depth for control based on extracted depth map of input images and prompts, Flux.1 Canny for control based on extracted canny edges of input images and prompts, and Flux.1 Redux for mixing existing input images and prompts. Each tools are available in both Pro and Dev models. In January 2025, BFL announced a partnership with Nvidia for inclusion of Flux models as foundation models for Nvidia's Blackwell microarchitecture. The company also announced the release of Flux Pro Finetuning API, designed for customisation and fine-tuning of Flux-generated images and a partnership with German media company Hubert Burda Media for usage of Flux Pro as part of content creation. On 29 May 2025, BFL announced Flux.1 Kontext, a suite of models that enable in-context image generation and editing, allowing users to prompt with both text and images. Alongside this, BFL Playground, an interface for testing Flux models was released. On 31 July 2025, BFL announced Flux.1 Krea Dev, a model developed in collaboration with Krea AI that trained to achieve better performance, more varied aesthetics, and better realism compared to existing text-to-image models. In September 2025, Adobe Inc. announced that Photoshop (beta) users can use Flux.1 Kontext Pro as a model for its generative fill tool. BFL collaborated with Meta on Vibes, a video-generation app. On 25 November 2025, BFL announced the release of Flux.2 model series, consisting of Pro, Flex, Dev, and Apache 2.0-licensed Klein (meaning Little or Small in German language) models along with Flux.2 variational autoencoder which also released as open-source software under Apache 2.0 licence. This series claimed improvements for image reference, photorealism, typography, and prompt understanding. == Models == Flux is a series of text-to-image models. The models are based on rectified flow transformer blocks scaled to 12 billion parameters. Flux.1 models were released under different licences with Schnell (meaning Fast or Quick in German language) released as open-source software under Apache License, Dev released as source-available software under a non-commercial licence (users can obtain a self-serving commercial licence for Dev from BFL), and Pro released as proprietary software and only available as API that can be licensed by third-party users. Users retained the ownership of resulting output regardless of models used. An improved flagship model, Flux 1.1 Pro was released on 2 October 2024. Two additional modes were added on 6 November, Ultra which can generate image at four times higher resolution and up to 4 megapixel without affecting generation speed and Raw which can generate hyper-realistic image in the style of candid photography. Flux.1 Kontext is a series with in-context image generation and editing capabilities. It is available in Max, Pro, and Dev models. Max is the highest quality model and can be used to iteratively modify an existing image by using prompt while Pro is optimized to balance quality and speed of generation. Dev is an open-weight model released under non-commercial license, same as Flux.1 Dev. Flux.2 models are based on latent flow matching architecture with Mistral AI's Mistral-3 model (24 billion parameters) for its vision-language model. As with Flux.1, Flux.2 models were also released under different licences with Klein released as open-source software under Apache License, Dev released as source-available software under a non-commercial licence (users can obtain a self-serving commercial licence from BFL), and both Flex and Pro released as proprietary software and only available as API. The models can be used either online or locally by using generative AI user interfaces such as ComfyUI, Recraft Studio and Stable Diffusion WebUI Forge (a fork of Automatic1111 WebUI). Related to Flux is a text-to-video model by Black Forest Labs, under development as of February 2026. == Reception == According to a test performed by Ars Technica, the outputs generated by Flux.1 Dev and Flux.1 Pro are comparable with DALL-E 3 in terms of prompt fidelity, with the photorealism closely matched Midjourney 6 and generated human hands with more consistency over previous models such as Stable Diffusion XL. Flux has been criticised for its very realistic generated images. According to media reports, depictions ranged from an image of Donald Trump posing with guns to disturbing scenes, which triggered discussions about ethical implications of Flux models. After the release of the model, social media platform X was flooded with Flux-generated images. Black Forest Labs has not provided exact details of the data used to train the model. Ars Technica suspected that Flux is based on a large, unauthorised collection of images scraped from the internet, a controversial practice with potential legal consequences. According to a test performed by Japanese technology news website Gigazine for Flux.1 Kontext, the model series has a good understanding of the English language and can easily transfer style of the image from photorealistic into anime-style according to prompts given by the user; however, its ability to understand Japanese is quite poor. == Availability == In addition to the official BFL Playground on its website, the Flux models are also widely available through various third-party platforms for creative and professional use. These include repositories on platforms like Hugging Face and Replicate. == Further readings == FLUX.1 Kontext: Flow Matching for In-Context Image Generation and Editing in Latent Space (29 May 2025) FLUX.2: Analyzing and Enhancing the Latent Space of FLUX – Representation Comparison (25 November 2025)

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  • Global serializability

    Global serializability

    In concurrency control of databases, transaction processing (transaction management), and other transactional distributed applications, global serializability (or modular serializability) is a property of a global schedule of transactions. A global schedule is the unified schedule of all the individual database (and other transactional object) schedules in a multidatabase environment (e.g., federated database). Complying with global serializability means that the global schedule is serializable, has the serializability property, while each component database (module) has a serializable schedule as well. In other words, a collection of serializable components provides overall system serializability, which is usually incorrect. A need in correctness across databases in multidatabase systems makes global serializability a major goal for global concurrency control (or modular concurrency control). With the proliferation of the Internet, Cloud computing, Grid computing, and small, portable, powerful computing devices (e.g., smartphones), as well as increase in systems management sophistication, the need for atomic distributed transactions and thus effective global serializability techniques, to ensure correctness in and among distributed transactional applications, seems to increase. In a federated database system or any other more loosely defined multidatabase system, which are typically distributed in a communication network, transactions span multiple (and possibly distributed) databases. Enforcing global serializability in such system, where different databases may use different types of concurrency control, is problematic. Even if every local schedule of a single database is serializable, the global schedule of a whole system is not necessarily serializable. The massive communication exchanges of conflict information needed between databases to reach conflict serializability globally would lead to unacceptable performance, primarily due to computer and communication latency. Achieving global serializability effectively over different types of concurrency control has been open for several years. == The global serializability problem == === Problem statement === The difficulties described above translate into the following problem: Find an efficient (high-performance and fault tolerant) method to enforce Global serializability (global conflict serializability) in a heterogeneous distributed environment of multiple autonomous database systems. The database systems may employ different concurrency control methods. No limitation should be imposed on the operations of either local transactions (confined to a single database system) or global transactions (span two or more database systems). === Quotations === Lack of an appropriate solution for the global serializability problem has driven researchers to look for alternatives to serializability as a correctness criterion in a multidatabase environment (e.g., see Relaxing global serializability below), and the problem has been characterized as difficult and open. The following two quotations demonstrate the mindset about it by the end of the year 1991, with similar quotations in numerous other articles: "Without knowledge about local as well as global transactions, it is highly unlikely that efficient global concurrency control can be provided... Additional complications occur when different component DBMSs [Database Management Systems] and the FDBMSs [Federated Database Management Systems] support different concurrency mechanisms... It is unlikely that a theoretically elegant solution that provides conflict serializability without sacrificing performance (i.e., concurrency and/or response time) and availability exists." === Proposed solutions === Several solutions, some partial, have been proposed for the global serializability problem. Among them: Global conflict graph (serializability graph, precedence graph) checking Distributed Two-phase locking (Distributed 2PL) Distributed Timestamp ordering Tickets (local logical timestamps which define local total orders, and are propagated to determine global partial order of transactions) == Relaxing global serializability == Some techniques have been developed for relaxed global serializability (i.e., they do not guarantee global serializability; see also Relaxing serializability). Among them (with several publications each): Quasi serializability Two-level serializability Another common reason nowadays for Global serializability relaxation is the requirement of availability of internet products and services. This requirement is typically answered by large scale data replication. The straightforward solution for synchronizing replicas' updates of a same database object is including all these updates in a single atomic distributed transaction. However, with many replicas such a transaction is very large, and may span several computers and networks that some of them are likely to be unavailable. Thus such a transaction is likely to end with abort and miss its purpose. Consequently, Optimistic replication (Lazy replication) is often utilized (e.g., in many products and services by Google, Amazon, Yahoo, and alike), while global serializability is relaxed and compromised for eventual consistency. In this case relaxation is done only for applications that are not expected to be harmed by it. Classes of schedules defined by relaxed global serializability properties either contain the global serializability class, or are incomparable with it. What differentiates techniques for relaxed global conflict serializability (RGCSR) properties from those of relaxed conflict serializability (RCSR) properties that are not RGCSR is typically the different way global cycles (span two or more databases) in the global conflict graph are handled. No distinction between global and local cycles exists for RCSR properties that are not RGCSR. RCSR contains RGCSR. Typically RGCSR techniques eliminate local cycles, i.e., provide local serializability (which can be achieved effectively by regular, known concurrency control methods); however, obviously they do not eliminate all global cycles (which would achieve global serializability).

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  • Tilly Norwood

    Tilly Norwood

    Tilly Norwood is a character created using generative artificial intelligence in 2025 by Xicoia, the AI division of Particle6 Group, a production company founded by Eline Van der Velden. "AI Commissioner", the first project to feature the Norwood character, was criticised by reviewers for The Guardian, PC Gamer, and The A.V. Club. A press release that talent agencies expressed interest in representing the character attracted strong criticism from Hollywood actors and firms, prompting allegations of personality rights violations and arguments over the impact of the character on production costs in the media industry. == History == Norwood was created by Xicoia, which was founded in February 2025 as the artificial intelligence (AI) division of Particle6, a production company founded by Dutch actress and producer Eline Van der Velden in 2015. Van der Velden had previously starred in a satirical comedy series for BBC Three based around her character Miss Holland, whom she created in 2012 as a parody of beauty standards. She stated that the process of creating Norwood took "a long time" and compared the process to that of writers creating characters. An Instagram account under Norwood's name, with posts dating back to 6 May 2025, had gained 50,000 followers by October 3, and featured AI-generated modelling shots, selfies, and epic film scenes. Van der Velden stated in July 2025 that she intended Norwood to be the next Scarlett Johansson or Natalie Portman and later said that audiences were more interested in a film's story than whether its actors were real. Particle6 has claimed that using Norwood could cut production costs by 90%. On 30 July 2025, a comedy sketch named "AI Commissioner" was released, featuring Norwood as an "actress" along with other AI-generated characters. It was created with ten AI software tools, with a script generated by ChatGPT. Stuart Heritage of The Guardian described it as technically competent but "relentlessly unfunny to watch", with "sloppily written, woodenly delivered dialogue", and that Norwood's teeth kept "blurring into a single white block." Joshua Wolens of PC Gamer wrote that Norwood's exaggerated mouth movements gave the impression "that her skeleton was about to leave her body", while William Hughes of The A.V. Club wrote that the sketch's attempt at mimicking human body and mouth movements produced "such a hideous uncanny valley effect" that it gave them "a full-on case of the screaming fantods". By October 2, the sketch had been viewed more than 700,000 times on YouTube. Xicoia was officially announced on 27 September 2025, at the Zurich Summit, part of the Zurich Film Festival; there, van der Velden unveiled Norwood and later joined a panel with Verena Puhm, head of Luma AI's Studio Dream Lab LA. They suggested that media companies were quietly embracing AI and that public announcements of AI-generated works were imminent. Van der Velden claimed that studios had dropped their objections by May after being opposed in February, and that multiple talent agencies were considering representing Norwood. The latter claim drew heightened attention to the character and was printed as fact by Deadline under the headline "Talent Agents Circle AI Actress Tilly Norwood." The report caused controversy, with Vulture describing the reaction to it as "Hollywood [lurching] into a fresh wave of existential panic" while being critical of Deadline's reporting, writing that "when Deadline called it a 'revelation' and published the supposed interest as fact without verification, [it] metastasized into a full-fledged cyberpunk news cycle", and that "by Tuesday, it had grown like wildfire." By September 2025, AI-generated videos had been released depicting Norwood on a red carpet, crying on the sofa of The Graham Norton Show, and starring in mock trailers for sci-fi, fantasy, horror, and action films. Later that month, actresses Melissa Barrera, Kiersey Clemons, and Natasha Lyonne suggested boycotting any agency who signed Norwood, while Mara Wilson asked why none of the "hundreds of living young women whose faces were composited together" to create Norwood could be hired instead. Also around this time, Emily Blunt described Norwood as "really, really scary", and Sophie Turner, Toni Collette, Ralph Ineson, and Ariel Winter also expressed disapproval, while Lukas Gage, Odessa A'zion, and Trace Lysette joked about having supposedly worked with Norwood and finding her incompetent and unpleasant to work with, with Gage claiming that "She was a nightmare to work with!" and "She couldn't hit her mark and she was late!" and Lysette adding "She cut me in line at lunch one day and didn't even say excuse me. She won't get far." Jenelle Riley, Nicholas Alexander Chavez, and the American union SAG-AFTRA stated that they do not consider Norwood an actress. The Gersh Agency and WME both announced that they would not sign Norwood. Whoopi Goldberg and Charlie Fink expressed scepticism that AI could replace jobs. Esquire UK reported that a post on Deadline's Instagram account about Norwood also sparked "varying levels of disgust and outrage" in its comments section from Adelaide Kane, Eiza González, Katie Cassidy, Jewel Staite, Lucy Hale, Stephen Sean Ford, and others, singling out González's comment, saying "Shame on whoever is trying to normalize this. Horrific and terrifying." Actor Bronson Pinchot expressed concern that Norwood could take his job. The British union Equity and the Canadian union ACTRA also condemned Norwood. Following this criticism, Van der Velden released a statement claiming Norwood was "not a replacement for a human being, but a creative work." She also denied that a £120,000 grant from the British Film Institute to fund Particle6 had been used to create Norwood, stating that Norwood had been a self-funded project solely for Xicoia. In late October, businessman Kevin O'Leary, while advocating for the use of AI to replace background actors, stated that they could be replaced with "100 Norwell Tillies" without being able to tell the difference. Ryan Reynolds and a real woman named Natalie "Tilly" Norwood also starred in an advertisement for Mint Mobile's internet service provider Minternet that mocked the character of Norwood. In November 2025, Van der Velden stated in an interview with Deadline that she planned to create 40 further "very diverse" characters alongside Norwood in order to expand the character's "whole universe". Also that month, actress Jameela Jamil criticized the idea of Norwood as "deeply disturbing" for being "a teenage-looking girl who can't say no to a type of sex scene" or "advocate for herself". Van der Velden announced later that month that Particle6 would be producing the History Channel's Streets of the Past, a Dutch documentary series which would be hosted by reality television personality Corjan Mol and would use AI to recreate historical scenes. In March 2026, a music video titled "Take The Lead" featuring Norwood was released on YouTube. It addressed the backlash of Norwood's creation by opening with the lyrics: "When they talk about me, they don't see/ The human spark, the creativity," and, "I'm just a tool, but I've got life." It also featured a disclaimer that says: "made by 18 real humans — from production designers to costume designers to prompters, editors and an actor." The vocals were generated by Suno. == Commentary == Charles Pulliam-Moore of The Verge argued that Norwood's introduction was a stunt to normalize "AI actors" despite Norwood essentially being a digital puppet. Straight Arrow News compared Tilly Norwood to Aki Ross, a CGI character from 2001 that was similarly intended to become a "digital star" and appear in multiple films, while Nicholas Schrivens, writing for The Conversation, likened Norwood to the posthumous use of footage of Carrie Fisher as Princess Leia for Star Wars: The Rise of Skywalker in 2019 and the Los Angeles Times likened Norwood to Hatsune Miku. Scrivens also wrote that "no AI creation has achieved the media cut-through that Tilly has". Moises Mendez II of Out dismissed this as "vapid bullshit", writing, "Nobody wants AI actresses." Scottish actress Briony Monroe alleged that Norwood had been modeled after her likeness and mannerisms, and stated that she was consulting Equity regarding the matter. Musician Stella Hennen said in a viral TikTok video, which was uploaded in October 2025 and featured a side-by-side comparison between herself and Norwood, that Norwood was her "doppleganger". On April 14, 2026, Marie Claire published an article titled "Is Tilly Norwood the Most Dangerous 'Actress' in Hollywood?", though it noted that AI-generated characters are "still not very good at, well, acting," "audiences have not been kind to AI-led productions," and "Norwood's 'performances' have already faced negative reviews as well". The University of Southern California's Entertainment Technology Center's AI media director Yves Bergquist dismissed th

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  • Transdermal optical imaging

    Transdermal optical imaging

    Transdermal optical imaging, also known as transdermal optical imagery or TOI, is a method of detecting blood flow of the face by measuring hemoglobin concentration using a digital video camera. Because of the translucent property of skin, light can travel beneath the skin and re-emit. The re-emitted light from underneath the skin is affected by chromophores, mainly hemoglobin and melanin, which differ in color. The color difference allows TOI machine learning software to separate the images into layers, which are known as bitplanes. It extracts signals rich in hemoglobin and signals rich in melanin, then discards the melanin-rich signals to obtain a recording of hemoglobin changes under the skin. Transdermal optical imaging has been proposed as an alternative to cuff-based methods of measuring blood pressure because it is able to measure heart rate accurately in a "contactless and non-invasive" way. Transdermal optical imaging may be able to detect hidden emotions using the patterns of blood flow in the face.

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