Best AI Writing Tools

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

E-gree (app)

E-gree is a legal app that became well known in 2020. It was the first app of its kind to protect users against a number of dating-related issues, including revenge porn. == Background == The app was co-founded by Araz Mamet, Keith Fraser and Ilya Flaks. The app focuses on privacy, with users being able to set up various contracts to protect themselves following a breakup, or while dating. This notably included signing an NDA when sexting. The app received investment from a number of notable people and companies, including Natalia Vodianova.
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Murderbot (TV series)

Murderbot is an American science fiction action comedy television series created by Paul Weitz and Chris Weitz for Apple TV+. It is based on All Systems Red, the first book of the series The Murderbot Diaries by Martha Wells, who serves as a consulting producer. The series stars Alexander Skarsgård as the titular character. The first season premiered on May 16, 2025 and received positive reviews. In July 2025, the series was renewed for a second season. == Premise == A media-obsessed private security construct (manufactured from cloned human tissue and mechanical parts) calling itself Murderbot must hide its newly acquired autonomy while completing dangerous assignments and being simultaneously drawn to humans, and appalled by their weakness. == Cast and characters == === Main === Alexander Skarsgård as Murderbot Noma Dumezweni as Ayda Mensah, a terraforming specialist, the President of Preservation Alliance and the leader of the science team protected by Murderbot David Dastmalchian as Gurathin, a tech expert and augmented human Sabrina Wu as Pin-Lee, a scientist and legal counsel to the team Akshay Khanna as Ratthi, a wormhole expert Tamara Podemski as Bharadwaj, a geochemist Tattiawna Jones as Arada, a biologist === Recurring === Cast of show-within-a-show The Rise and Fall of Sanctuary Moon John Cho as Eknie Jef Chem (playing Captain Hossein) Jack McBrayer as Breiller MocJac (playing Navigation Officer Hordööp-Sklanch) Clark Gregg as Arletty (playing Lieutenant Kullervv) DeWanda Wise as Pordron Bretney III Roche (playing NawBot 337 Alt 66) === Guest === Anna Konkle as Leebeebee, a member of another survey team on the planet. The character does not appear in the novella. Amanda Brugel as GrayCris Blue Leader David Reale as GrayCris Yellow == Episodes == == Production == The book series was optioned in the late 2010s, and its film adaptation was considered. In 2021, book series author Martha Wells said that a potential TV series adaptation was in development and that she had read the script and was "really excited about it". The series was green lit by Apple TV+ in 2022, with Wells serving as a consulting producer. The production design team, led by Sue Chan, started work in the autumn. Tommy Arnold, the Murderbot Diaries special edition illustrator, created the concept art for the show. After the casting was delayed by the 2023 SAG-AFTRA strike, in December 2023 it was announced that Alexander Skarsgård would produce and star in the series. He developed the character and the world of Murderbot with the showrunners. In February 2024, David Dastmalchian and Noma Dumezweni joined the cast. In March, Sabrina Wu, Tattiawna Jones, Akshay Khanna, and Tamara Podemski joined the cast. On July 10, 2025, the series was renewed for a second season. Showrunners Chris and Paul Weitz suggested the second season would combine the next three books of the series and will have longer episodes. === Filming === Principal photography for the first season took place from March–June 2024, in Toronto and parts of Ontario, Canada. Most of the filming was done on location, with the Sanctuary Moon scenes filmed on a virtual production stage. Principal photography for the second season began in mid-2026, in Madrid, Spain. It is planned to last 71 days, with Martha Wells also visiting the set. == Release == The first two episodes of Murderbot premiered on Apple TV+ on May 16, 2025, with subsequent episodes released weekly. The first season consists of ten episodes. == Reception == Even before the release of the show, numerous media sources had commented on the titular character as being coded as autistic and agender. On the review aggregator website Rotten Tomatoes, Murderbot has an approval rating of 96% with an average score of 7.5/10, based on 76 critics' reviews. The website's critical consensus states, "Alexander Skarsgård's superbly dry wit brings a lot of heart to Murderbot, making for a refreshingly jaunty sci-fi saga about finally coming out of one's shell". Metacritic, which uses a weighted average, assigned a score of 70 out of 100, based on 28 critics, indicating "generally favorable" reviews. Some reviewers have criticized Murderbot's changes to Wells' original books. Angela Watercutter of Wired noted that the series has significant tonal differences from the books and noted the show's changes to characters, particularly Murderbot and Dr. Mensah, and Wells' social commentary. === Accolades === Murderbot was a finalist for the 2025 Dragon Award for Best Science Fiction or Fantasy TV Series. Tommy Arnold won the 2025 Concept Art Association Award in the category of Live-Action Series Character Art for his work on Murderbot. Alexander Skarsgård was nominated for a Critics' Choice Award for Best Actor in a Comedy Series. Carrie Grace and Laura Jean Shannon were nominated for a Costume Designers Guild Award in the category of Excellence in Sci-Fi/Fantasy Television for their work on FreeCommerce. Amanda Jones was nominated for a Composers & Lyricists Award for Outstanding Original Title Sequence for a Television Production.
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Pop music automation

Pop music automation is a field of study among musicians and computer scientists with a goal of producing successful pop music algorithmically. It is often based on the premise that pop music is especially formulaic, unchanging, and easy to compose. The idea of automating pop music composition is related to many ideas in algorithmic music, artificial intelligence (AI) and computational creativity. == History of automation in music == Algorithms (or, at the very least, formal sets of rules) have been used to compose music for centuries; the procedures used to plot voice-leading in counterpoint, for example, can often be reduced to algorithmic determinant. Now the term is usually reserved, however, for the use of formal procedures to make music without human intervention. Classical music automation software exists that generates music in the style of Mozart and Bach and jazz. Most notably, David Cope has written a software system called "Experiments in Musical Intelligence" (or "EMI") that is capable of analyzing and generalizing from existing music by a human composer to generate novel musical compositions in the same style. EMI's output is convincing enough to persuade human listeners that its music is human-generated to a high level of competence. Creativity research in jazz has focused on the process of improvisation and the cognitive demands that this places on a musical agent: reasoning about time, remembering and conceptualizing what has already been played, and planning ahead for what might be played next. Inevitably associated with pop music automation is pop music analysis. Projects in pop music automation may include, but are not limited to, ideas in melody creation and song development, vocal generation or improvement, automatic accompaniment and lyric composition. == Automatic accompaniment == Some systems exist that automatically choose chords to accompany a vocal melody in real-time. A user with no musical experience can create a song with instrumental accompaniment just by singing into a microphone. An example is a Microsoft Research project called Songsmith, which trains a Hidden Markov model using a music database and uses that model to select chords for new melodies. == Melody generation == Automatic melody generation is often done with a Markov chain, the states of the system become note or pitch values, and a probability vector for each note is constructed, completing a transition probability matrix (see below). An algorithm is constructed to produce an output note values based on the transition matrix weightings, which could be MIDI note values, frequency (Hz), or any other desirable metric. A second-order Markov chain can be introduced by considering the current state and also the previous state, as indicated in the second table. Higher, nth-order chains tend to "group" particular notes together, while 'breaking off' into other patterns and sequences occasionally. These higher-order chains tend to generate results with a sense of phrasal structure, rather than the 'aimless wandering' produced by a first-order system. == Lyric composition == Automated lyric creating software may take forms such as: Selecting words according to their rhythm The Tra-la-Lyrics system produces song lyrics, in Portuguese, for a given melody. This not only involves matching each word syllable with a note in the melody, but also matching the word's stress with the strong beats of the melody. Parsing existing pop music (e.g. for content or word choice) This involves natural language processing. Pablo Gervás has developed a noteworthy system called ASPERA that employs a case-based reasoning (CBR) approach to generating poetic formulations of a given input text via a composition of poetic fragments that are retrieved from a case-base of existing poems. Each poem fragment in the ASPERA case-base is annotated with a prose string that expresses the meaning of the fragment, and this prose string is used as the retrieval key for each fragment. Metrical rules are then used to combine these fragments into a well-formed poetic structure. Automatic analogy or story creation Programs like TALE-SPIN and The MINSTREL system represent a complex elaboration of this basis approach, distinguishing a range of character-level goals in the story from a range of author-level goals for the story. Systems like Bringsjord's BRUTUS can create stories with complex interpersonal themes like betrayal. On-line metaphor generation systems like 'Sardonicus' or 'Aristotle' can suggest lexical metaphors for a given descriptive goal (e.g., to describe a supermodel as skinny, the source terms “pencil”, “whip”, “whippet”, “rope”, “stick-insect” and “snake” are suggested). Free association of grouped words Using a language database (such as wordnet) one can create musings on a subject that may be weak grammatically but are still sensical. See such projects as the Flowerewolf automatic poetry generator or the Dada engine. == Software == === More or less free === BreathCube by xoxos. Simple lyrical vocal content is generated with simple music. CubeBreath by xoxos. Audio input is vocoded in tune with the music. Midi Internet Algorithmic Composition infno, infinite generator of electronic dance music and synth-pop. Algorithmic Trap, trap beat generator. === Commercial === Band in a box generates any element, potentially creates whole new songs from scratch. Musical Palette - Melody Composing Tool SongSmith: Automatic accompaniment for vocal melodies Ludwig 3.0 automatic accompaniment, writes arrangements for given instruments, plays its own songs for an infinitely long time. Automated Composing System creates music in many different styles
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Noise-based logic

Noise-based logic (NBL) is a class of multivalued deterministic logic schemes, developed in the twenty-first century, where the logic values and bits are represented by different realizations of a stochastic process. The concept of noise-based logic and its name was created by Laszlo B. Kish. In its foundation paper it is noted that the idea was inspired by the stochasticity of brain signals and by the unconventional noise-based communication schemes, such as the Kish cypher. == The noise-based logic space and hyperspace == The logic values are represented by multi-dimensional "vectors" (orthogonal functions) and their superposition, where the orthogonal basis vectors are independent noises. By the proper combination (products or set-theoretical products) of basis-noises, which are called noise-bit, a logic hyperspace can be constructed with D(N) = 2N number of dimensions, where N is the number of noise-bits. Thus N noise-bits in a single wire correspond to a system of 2N classical bits that can express 22N different logic values. Independent realizations of a stochastic process of zero mean have zero cross-correlation with each other and with other stochastic processes of zero mean. Thus the basis noise vectors are orthogonal not only to each other but they and all the noise-based logic states (superpositions) are orthogonal also to any background noises in the hardware. Therefore, the noise-based logic concept is robust against background noises, which is a property that can potentially offer a high energy-efficiency. == The types of signals used in noise-based logic == In the paper, where noise-based logic was first introduced, generic stochastic-processes with zero mean were proposed and a system of orthogonal sinusoidal signals were also proposed as a deterministic-signal version of the logic system. The mathematical analysis about statistical errors and signal energy was limited to the cases of Gaussian noises and superpositions as logic signals in the basic logic space and their products and superpositions of their products in the logic hyperspace (see also. In the subsequent brain logic scheme, the logic signals were (similarly to neural signals) unipolar spike sequences generated by a Poisson process, and set-theoretical unifications (superpositions) and intersections (products) of different spike sequences. Later, in the instantaneous noise-based logic schemes and computation works, random telegraph waves (periodic time, bipolar, with fixed absolute value of amplitude) were also utilized as one of the simplest stochastic processes available for NBL. With choosing unit amplitude and symmetric probabilities, the resulting random-telegraph wave has 0.5 probability to be in the +1 or in the −1 state which is held over the whole clock period. == The noise-based logic gates == Noise-based logic gates can be classified according to the method the input identifies the logic value at the input. The first gates analyzed the statistical correlations between the input signal and the reference noises. The advantage of these is the robustness against background noise. The disadvantage is the slow speed and higher hardware complexity. The instantaneous logic gates are fast, they have low complexity but they are not robust against background noises. With either neural spike type signals or with bipolar random-telegraph waves of unity absolute amplitude, and randomness only in the sign of the amplitude offer very simple instantaneous logic gates. Then linear or analog devices unnecessary and the scheme can operate in the digital domain. However, whenever instantaneous logic must be interfaced with classical logic schemes, the interface must use correlator-based logic gates for an error-free signal. == Universality of noise-based logic == All the noise-based logic schemes listed above have been proven universal. The papers typically produce the NOT and the AND gates to prove universality, because having both of them is a satisfactory condition for the universality of a Boolean logic. == Computation by noise-based logic == The string verification work over a slow communication channel shows a powerful computing application where the methods is inherently based on calculating the hash function. The scheme is based on random telegraph waves and it is mentioned in the paper that the authors intuitively conclude that the intelligence of the brain is using similar operations to make a reasonably good decision based on a limited amount of information. The superposition of the first D(N) = 2N integer numbers can be produced with only 2N operations, which the authors call "Achilles ankle operation" in the paper. == Computer chip realization of noise-based logic == Preliminary schemes have already been published to utilize noise-based logic in practical computers. However, it is obvious from these papers that this young field has yet a long way to go before it will be seen in everyday applications.
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Kubity

Kubity is a cloud-based 3D communication tool that works on desktop computers, the web, smartphones, tablets, augmented reality gear, and virtual reality glasses. Kubity is powered by several proprietary 3D processing engines including "Paragone" and "Etna" that prepare the 3D file for transfer over mobile devices. Kubity has practical applications for architecture, interior design, engineering, product design, film, and video games among others. The majority of its users create 3D models using SketchUp or Autodesk Revit software. Kubity products include the Kubity web app and Kubity Go (a mobile application for iOS and Android). Kubity is compatible across many platforms, devices and operating systems including: iOS, Android, Firefox, Chrome, Windows, MacOS, and Linux. == History == Kubity was created by SPK Technology (ex Kubity S.A.S.), a Paris-based software company specializing in automatic 3D data optimization and visualization. Founded in 2012 by a group of software engineers and an urban projects developer, they united around a simple idea: create a way for anyone, anywhere to simply and intuitively explore 3D models on smartphones and computers. In order to bring architects, engineers and designers together with their clients around a 3D model, it was essential to develop an interactive platform that supported multiple desktop and mobile devices for instantaneous and fluid 3D navigation. With specifications in place, 15 engineers fused together several technologies: 3D design, data compression, decimation and rendering optimization, web and mobile transfer, and virtual reality headset integration. In January 2014, the first public Kubity prototype (1.0 Amethyst) was launched to a small group of beta testers with a plug-in that allowed users to import 3D models from SketchUp to their browser. A global release was announced in April 2014 at the SketchUp Basecamp in Vail, Colorado. In May 2015, Kubity launched a web application that worked using WebGL technology (2.0 Citrine). For the first time, users were able to drag and drop any SketchUp file in a web browser without having to install a plug-in. In December 2015, Kubity launched a mobile application on the App Store for iPhone, iPod, and iPad as well as on Google Play for Android devices (3.0 Druzy). In November 2016, Kubity launched support for Oculus Rift and HTC Vive (4.0 Emerald). Beginning in November 2017, Kubity launched a full suite rollout of mobile applications over six months that included Kubity AR for augmented reality, Kubity VR for virtual reality, and Kubity Mirror for remote presentations and screen mirroring (5.0 Feldspar). In September 2018, a one-click plugin for SketchUp and Revit (Kubity PRO), along with a mobile-first revamp of Kubity Go was launched, allowing PRO-to-Go device pairing for automatic mobile sync (6.0 Gypsum). In early 2019, the Kubity Go application was updated to include fully integrated AR, VR, and screen mirroring functionalities, killing off the dedicated companion apps Kubity AR, Kubity VR and Kubity Mirror in the process (7.0 Heliotrope). In January 2020, support for the Kubity PRO plugin for SketchUp and Revit was migrated to a SketchUp-only web app. == Technology == Kubity is powered by a proprietary 3D crystallization engine known as "Paragone"; a technology developed by SPK Technology. Paragone takes constrained information from a 3D file and runs it through the "BlockWave" algorithm (US Patent 10,482.629), also developed by SPK Technology. BlockWave is a multiphase optimization algorithm that combines 3D design, data compression, decimation and rendering optimization, web and mobile transfer, and mixed reality headset integration to create a crystallized universal format of the original file. One phase of the BlockWave algorithm is based on the quadric-based polygonal surface simplification algorithm, performed using predefined heuristics, and is associated with a plurality of simplified versions of the 3D model, each version being associated with a predefined level of detail adapted to the user specific end device. BlockWave extracts data content, geometry and textures, then sets quadrics for each top of the original 3D model, and identifies pairs of adjacent tops linked by vertices. The algorithm uses a local collapsing operator and a top-plan error metric to obtain a fixed number of faces or a maximum defined error; 3D meshing is simplified by replacing two points with one, then deleting the degrading faces and updating adjacent relations. Once decimation is completed, texture optimization is set using texture target parameters allowing maximized GPU memory to improve computing time. With texture encoding completed, the crystallized universal 3D file can now be easily opened on any user-specific end device and played across most digital devices with real-time rendering. == Features == === 3D Crystallization === A user converts (or crystallizes) a 3D file by exporting it with the Kubity web app. Crystallization adds features like AR/VR and cinematic fly-through tour as well as assigns the model a dedicated QR code. === Automatic Mobile Sync === When a 3D model is exported, it is automatically synced to Kubity Go on the user's mobile device. From there, it can be accessed, explored, and shared with others with or without an internet connection. === Security and Management === User models can be managed all in one place on Kubity Go or in a browser from their account. Models can be renamed, password-protected, shared, and played. === Augmented Reality === Developed using Apple ARKit and Google ARCore technology, Kubity Go's augmented reality feature maps the environment in a room detecting horizontal planes like tables and floors to track and place 3D objects. By blending digital objects and information with the environment, Kubity allows users to interact with 3D models in true augmented reality. Built-in communication features allows users to instantly share 3D models with anyone over text, email, social media, or direct device-to-device with a QR Code. Platform Support AR supports devices running iOS11 including: iPhone SE, iPhone 6s, iPhone 6s Plus, iPhone 7, iPhone 7 Plus, iPhone 8, iPhone X, all iPad Pro models, and iPad (2017). AR for Android requires Android 7.0 or later and access to the Google Play Store. === Virtual Reality === VR allows users to explore SketchUp models and Revit projects on-the-go right from a mobile device using Oculus Go, Google Cardboard, Samsung Gear VR, or the glasses-free Magic Window feature. Kubity's virtual reality feature is compatible with Oculus Go, Google Cardboard viewers and other cardboard compatible devices including clip-on style VR glasses like Homido Mini, as well as the mobile virtual reality headset, Samsung Gear VR. Samsung Gear VR supports: Galaxy S6, Galaxy S6 Edge, Galaxy S6 Edge+, Samsung Galaxy Note 5, Galaxy S7, Galaxy S7 Edge, Galaxy S8, Galaxy S8+, Samsung Galaxy Note Fan Edition, Samsung Galaxy Note 8, Samsung Galaxy A8/A8+ (2018), and Samsung Galaxy S9/Galaxy S9+. === Screen Mirroring === Screen mirroring allows a user to sync the sender device to a receiver on a webpage, then control from the sender device to give a remote presentation of the 3D model. Devices are easily synced by entering a six-digit number displayed on the receiving computer. == Platform support == On iOS, the Kubity application is compatible with devices running on the version 9.0 or higher. On Android, Kubity is compatible with devices running on the version 4.4 “Kit Kat” or higher. The web version of Kubity applications currently support web browsers compatible with WebGL2 : Mozilla Firefox and Google Chrome. AR is compatible with devices running iOS11 including: iPhone SE, iPhone 6s, iPhone 6s Plus, iPhone 7, iPhone 7 Plus, iPhone 8, iPhone X, all iPad Pro models, and iPad (2017), and Android devices. Requires Android 7.0 or later and access to the Google Play Store. VR is compatible with Google Cardboard viewers and other cardboard compatible devices including clip-on style VR glasses like Homido Mini, as well as the Samsung Gear VR and Oculus Go. Samsung Gear VR supports: Galaxy S6, Galaxy S6 Edge, Galaxy S6 Edge+, Samsung Galaxy Note 5, Galaxy S7, Galaxy S7 Edge, Galaxy S8, Galaxy S8+, Samsung Galaxy Note Fan Edition, Samsung Galaxy Note 8, Samsung Galaxy A8/A8+ (2018) and Samsung Galaxy S9/Galaxy S9+.
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Recraft

Recraft is a generative artificial intelligence program and service developed by the London-based startup Recraft, Inc. The company also offers Recraft Studio, a web-based workspace that lets users create and edit images, vectors, and mockups using various text-to-image models. Like models such as Midjourney and DALL-E, the Recraft model generates digital images from natural language prompts, and is specifically tailored for creative workflows, with features that emphasize brand consistency, text fidelity, and layout control. == History and background == Recraft, Inc. was founded in 2022 by machine learning scientist Anna Veronika Dorogush, best known for co-creating the CatBoost machine learning library at Yandex. The company emerged from stealth on May 31, 2023, with a public release of its vector graphics generation capability on Product Hunt. On January 17, 2024, TechCrunch profiled Recraft’s foundational model for graphic design, noting its emphasis on addressing copyright and ethical concerns associated with AI-generated imagery. On October 28, 2024, TechCrunch reported that Recraft's third major model, V3, had topped a crowdsourced benchmark, surpassing Midjourney and OpenAI's DALL-E in overall image quality. On May 5, 2025, Recraft announced a $30 million Series B funding round led by Accel, reporting more than four million registered users at the time of the announcement. == Models == Recraft has developed multiple generations of its text-to-image models since 2022. Each generation reflects improvements in fidelity, controllability, and support for both raster and vector outputs. The models are proprietary and accessible through the Recraft API, Recraft Studio. Recraft models are also hosted as an image generation API on fal, Replicate, Prodia, and others. === Recraft V2 === Recraft V2 was released in March 2024 and was the company’s first model trained from scratch. It contained roughly 20 billion parameters and introduced native vector image generation, brand-color conditioning, and improved stylistic consistency for icons and illustrations. === Recraft V3 === Recraft V3 was released in October 2024 and achieved first place on the Artificial Analysis benchmark hosted on Hugging Face. The model introduced advances in photorealism, improved rendering of multi-word text, and increased responsiveness to detailed descriptive prompts. It also added the “Artistic” parameter, which allowed users to adjust stylistic intensity within generated images. === Recraft V4 === Recraft V4 was released in February 2026. According to Recraft, V4 is a “ground-up rebuild” aimed at improving prompt accuracy and output quality for design workflows, with the company emphasizing “design taste” and art-directed results. Recraft states that V4 is available in two versions: V4 for faster iteration and V4 Pro for higher-resolution, print-ready assets; the API documentation describes V4 as 1-megapixel output and V4 Pro as 4-megapixel output, with vector variants available for each. === Features === Vectorization: Recraft’s models can generate and convert images into native vector formats, producing scalable graphics composed of editable paths rather than fixed pixels. Style reference: The models support the use of reference images to guide stylistic characteristics such as color palette, line quality, composition, or visual tone. Style mixing: Recraft models can combine multiple stylistic inputs within a single generation. By blending attributes from different references or stylistic instructions, the system produces images that reflect hybrid visual characteristics while maintaining internal consistency. Inpainting editing: The models support localized image modification through inpainting, enabling users to regenerate selected regions of an image while preserving surrounding content. === Model capabilities === Recraft’s models generate raster and vector images from natural-language prompts and are designed to interpret detailed descriptions with attention to composition, style, and text placement. The models support controlled stylistic variation through preset or reference-based guidance and can maintain coherent line, color, or layout structure across multiple outputs. They produce scalable vector graphics alongside high-resolution raster images, and include features for localized image modification through inpainting or outpainting operations. === Technology === Recraft has not publicly disclosed the detailed technical architecture of its models. However, third-party reviews and benchmarks have noted that its performance resembles diffusion models such as Midjourney and Stable Diffusion. The model is designed for creative workflows requiring visual consistency and flexible output formats. Reviewers have noted its ability to generate legible multi-line text, produce high-resolution imagery at various canvas sizes, and to maintain alignment with user-defined brand palettes and design themes. Though not open-source, Recraft's models are accessible through a web interface and commercial API. Advanced features such as style settings and positioning control differentiate it from general-purpose text-to-image models. == Recraft Studio == Recraft Studio is a web-based workspace for generating and editing images using Recraft’s image models and selected external models. The infinite canvas interface provides access to a range of creation and refinement tools within a single environment. Raster and vector generation with styles: Recraft Studio supports the generation of both raster and vector images. Users can apply predefined or reference-based styles during generation, allowing for visual consistency across multiple outputs. Mockups: The studio includes mockup tools that allow generated designs to be placed onto predefined surfaces or templates for visualization and presentation purposes. Vectorization: Recraft Studio provides vectorization tools that convert raster images into editable vector graphics, enabling further modification of shapes, colors, and layout. Image upscaling: The workspace includes image upscaling functionality for increasing resolution while preserving visual detail. Editing tools and natural-language editing: Recraft Studio offers a set of editing tools for modifying images within the canvas, including localized adjustments and natural-language–based editing commands that allow users to describe changes using text. === Supported models === Recraft Studio provides access to Recraft’s proprietary image models as well as other external frontier image models such as Nano Banana, GPT 4-o, Imagen, Flux, and others. == Business model == Recraft develops proprietary image models that are accessible through Recraft Studio and the Recraft API. Recraft Studio operates on a freemium model, offering a free tier with limited daily credits and paid subscriptions for access to additional features. The API follows a credit-based system in which units are purchased separately for programmatic image generation. A team plan supports collaborative use, and the API enables organizations and developers to integrate Recraft’s image generation and editing capabilities into their own systems and workflows.
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International Olympiad in Artificial Intelligence

The International Olympiad in Artificial Intelligence (IOAI) is an annual International Science Olympiad in the field of artificial intelligence (AI) for secondary education students under the age of 20. The first IOAI was held in Burgas, Bulgaria, in 2024. Each country or territory may send up to two teams, each consisting of up to four students supported by one leader. Participants are selected through a multi-stage National Olympiad in Artificial Intelligence (NOAI) and/or a Regional Olympiad such as the NAOAI or APOAI. Participants at the IOAI compete on an individual basis. As of 2025, there were 61 countries and territories participating in the IOAI. Three hundred students participated in IOAI 2025. As of 2026, 130 countries and territories are accredited for participation in the IOAI. == Competition Structure == The IOAI consists of three contests: the Individual Contest, the Team Challenge, and the GAITE contest. Medals are awarded based solely on the Individual Contest. === Individual Contest === The Individual Contest is the main competition of the IOAI in which contestants compete individually on separate computers and are not permitted to communicate during the contest. Medals are awarded solely on the basis of the total score from the two-day Individual Contest. The Individual Contest consists of two on-site contest days (six hours per day), preceded by an at-home practice round and an on-site practice session. In IOAI 2025, three at-home problems were released for preparation approximately one month before the on-site contest. Results from this at-home round do not affect final results. The first on-site contest day (Individual Contest 1) comprises three tasks as extensions and continuations of the at-home tasks, while the second day (Individual Contest 2) comprises two or three tasks which are novel and different from the at-home tasks. The Individual Contest tasks span various AI domains such as machine learning, natural language processing, and computer vision. The IOAI 2025 contest rules describe tasks as requiring typical machine-learning workflows, including writing code, fitting models on training data, and running inference on test data, using identical local machines and GPU resources (minimum 24 GB RAM). Tasks, datasets, and submissions are handled through a contest platform (Bohrium), including a web-based Jupyter notebook environment for GPU access. Internet access is restricted to a whitelist of documentation sites and an integrated compact large language model accessible within the platform. The use of external APIs are prohibited unless a task explicitly allows them. In IOAI 2025, each contest task was scored up to 100 points and could include multiple subtasks. Scores are normalized using a baseline solution and a maximum score derived from either a Scientific Committee solution or the best contestant submission. Contestants can view only their own scores during the contest; a live scoreboard may be available publicly outside the contest hall but is not permitted to be viewed by contestants during the contest. For non-English-speaking teams, the IOAI hold a translation session beginning three hours before each contest day in which team leaders review and may amend machine-translated task statements; translations must match the English original and are published after the contest. The IOAI committee also enforces quarantine restrictions during these translation sessions, where neither contestants or team leaders may not use cell phones, laptops, and other communication devices. === Team Challenge === The Team Challenge is a team-based component of the IOAI. The results of this part do not affect the distribution of medals. The IOAI 2025 rules describe it as a “creative and AI-oriented challenge” in which a team's contestants sit together and cooperate, with the format varying by year. In IOAI 2024, teams worked with existing AI image and video generation tools to produce a visual result. In IOAI 2025, teams were assigned to program a robot to complete various tasks. === GAITE Contest === The GAITE (Global AI Talent Empowerment) contest is a simplified version of the individual contest with a separate scoreboard, where participants may ask for hints. It is designed for countries and territories with limited International Science Olympiads history, and it awards alternative prizes instead of medals. == Awards Distribution == The top 50% of the participants in the individual contest receive gold, silver and bronze medals in ratio of 1:2:3, respectively. The top three individuals receive honorary trophies. As in other International Science Olympiads, if an individual is in the top 50% on one of the days, but does not receive a medal, they receive an honorary mention during the awards ceremony. The GAITE contest has similar cutoff logic, but receives a reward instead of a medal. The top three teams in the Team Challenge receive trophies. == National selection and regional competitions == National delegations are selected through country-level qualification processes referred to as National Olympiads in Artificial Intelligence (NOAI) or equivalent, which are widely known for their low success rates. Although the total number of participants worldwide is not published, available data indicate exceptionally competitive national pools; for example, Brazil reports over 716,000 competitors, while Russia reports more than 72,000. In addition, Regional Olympiads (for example, APOAI or NAOAI) provide continent-level competition and preparation platforms in most regions. === National Selection (National Olympiads in Artificial Intelligence) === Participating countries and territories select their students for the IOAI through a National Olympiad in Artificial Intelligence (NOAI) or an equivalent process. The names of these selection processes differ by country, but almost all of them (excluding newer countries participating in the GAITE contest) have in common that the process comprises multiple and/or extremely rigorous selection stages. United States / Canada – The USA–North America AI Olympiad (USAAIO) is a three-round process including an invitational in-person round and a subsequent selection camp, after which a national delegation is selected for IOAI. Russia – The Russian Olympiad in Artificial Intelligence is organized as a multi-stage process (training, qualification, main round, final). Organizers reported 72,316 registrations for the training round and 52,260 registrations for the qualifying round in one season, with tasks spanning mathematics, algorithms/programming, and machine learning; 977 students were disqualified following plagiarism checks. Japan – Japan's national selection consists of multiple stages, beginning with the Japan Olympiad in Artificial Intelligence (JOAI), a large-scale Kaggle-style competition. High-performing participants advance through additional assessment stages, including written solution reports and technical interviews. From this process, eight students are selected for the APOAI team, with four ultimately chosen to represent Japan at the IOAI. Brazil – Brazil's National Olympiad in Artificial Intelligence (ONIA) is conducted as a large competition which consists of progressive rounds of evaluation. It identifies 28 top students from over 716,000 competitors, four of which are selected for the IOAI. The competition is held in four phases across two cycles, including a two-step third phase and a final training-and-evaluation phase that selects a four-student national team. Singapore – Singapore's national Olympiad consists of two rounds: an online preliminary round (300 MCQs in 3 hours) selects the top 150 performers to advance to the final assessment, which includes both theory questions and Python programming tasks. Additional training and selection may follow the finals for top performers. Poland – The Polish AI Olympiad adopts a two-stage structure: an open online first stage (at-home tasks) and a second-stage competitive camp with 30 selected participants competing for a four-person IOAI team. France – The Olympiades Françaises d'Intelligence Artificielle (OFIA), organized by France-IOI, follow a three-stage structure consisting of an open online qualification round, a second selection round, and a multi-day national training camp and final in Paris. Bangladesh – The Bangladesh AI Olympiad (BdAIO) selects competitors in three rounds: the online preliminary round, the national finals, and the team selection camp. In 2025, 406 participants competed in the national finals. Norway – The Norwrgian AI Olympiad (NOKI) is a three-stage selection system; however, unlike other countries, its first two rounds are shared with the Norwegian Informatics Olympiad. The national Olympiad reports 1,180 participants in the first round. Hong Kong – The national Olympiad reported more than 800 preliminary-round entrants, narrowing through multiple rounds to 25 finalists, with a subsequent
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Question (short story)

"Question" is a science fiction short story by American writer Isaac Asimov. The story first appeared in the March 1955 issue of Computers and Automation (thought to be the first computer magazine), and was reprinted in the April 30, 1957, issue of Science World. It is the first of a loosely connected series of stories concerning a fictional supercomputer called Multivac. The story concerns two technicians who are servicing Multivac, and their argument over whether or not the machine is truly intelligent and able to think. Multivac, however, supplies the answer on its own. After the reprint, another author, Robert Sherman Townes, noticed the climax in the last sentence was very similar to one of his own stories, "Problem for Emmy" (Startling Stories, June 1952), and wrote to Asimov about it. After searching in his library, Asimov did find the original story and, although he did not recall having read it, admitted that the endings were pretty similar. He then replied to Townes, apologizing and promising the story would never again be published, and it never was. Asimov mentioned "Question" in an editorial called "Plagiarism" which appeared in the August 1985 issue of Asimov's Science Fiction (although he did not mention Townes' name or the title of either story). "Plagiarism" was reprinted in Asimov's collection Gold (1995).
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EM algorithm and GMM model

In statistics, EM (expectation maximization) algorithm handles latent variables, while GMM is the Gaussian mixture model. == Background == In the picture below, are shown the red blood cell hemoglobin concentration and the red blood cell volume data of two groups of people, the Anemia group and the control group (i.e. the group of people without Anemia). As expected, people with Anemia have lower red blood cell volume and lower red blood cell hemoglobin concentration than those without Anemia. x {\displaystyle x} is a random vector such as x := ( red blood cell volume , red blood cell hemoglobin concentration ) {\displaystyle x:={\big (}{\text{red blood cell volume}},{\text{red blood cell hemoglobin concentration}}{\big )}} , and from medical studies it is known that x {\displaystyle x} are normally distributed in each group, i.e. x ∼ N ( μ , Σ ) {\displaystyle x\sim {\mathcal {N}}(\mu ,\Sigma )} . z {\displaystyle z} is denoted as the group where x {\displaystyle x} belongs, with z i = 0 {\displaystyle z_{i}=0} when x i {\displaystyle x_{i}} belongs to the Anemia group and z i = 1 {\displaystyle z_{i}=1} when x i {\displaystyle x_{i}} belongs to the control group. Also z ∼ Categorical ⁡ ( k , ϕ ) {\displaystyle z\sim \operatorname {Categorical} (k,\phi )} where k = 2 {\displaystyle k=2} , ϕ j ≥ 0 , {\displaystyle \phi _{j}\geq 0,} and ∑ j = 1 k ϕ j = 1 {\displaystyle \sum _{j=1}^{k}\phi _{j}=1} . See Categorical distribution. The following procedure can be used to estimate ϕ , μ , Σ {\displaystyle \phi ,\mu ,\Sigma } . A maximum likelihood estimation can be applied: ℓ ( ϕ , μ , Σ ) = ∑ i = 1 m log ⁡ ( p ( x ( i ) ; ϕ , μ , Σ ) ) = ∑ i = 1 m log ⁡ ∑ z ( i ) = 1 k p ( x ( i ) ∣ z ( i ) ; μ , Σ ) p ( z ( i ) ; ϕ ) {\displaystyle \ell (\phi ,\mu ,\Sigma )=\sum _{i=1}^{m}\log(p(x^{(i)};\phi ,\mu ,\Sigma ))=\sum _{i=1}^{m}\log \sum _{z^{(i)}=1}^{k}p\left(x^{(i)}\mid z^{(i)};\mu ,\Sigma \right)p(z^{(i)};\phi )} As the z i {\displaystyle z_{i}} for each x i {\displaystyle x_{i}} are known, the log likelihood function can be simplified as below: ℓ ( ϕ , μ , Σ ) = ∑ i = 1 m log ⁡ p ( x ( i ) ∣ z ( i ) ; μ , Σ ) + log ⁡ p ( z ( i ) ; ϕ ) {\displaystyle \ell (\phi ,\mu ,\Sigma )=\sum _{i=1}^{m}\log p\left(x^{(i)}\mid z^{(i)};\mu ,\Sigma \right)+\log p\left(z^{(i)};\phi \right)} Now the likelihood function can be maximized by making partial derivative over μ , Σ , ϕ {\displaystyle \mu ,\Sigma ,\phi } , obtaining: ϕ j = 1 m ∑ i = 1 m 1 { z ( i ) = j } {\displaystyle \phi _{j}={\frac {1}{m}}\sum _{i=1}^{m}1\{z^{(i)}=j\}} μ j = ∑ i = 1 m 1 { z ( i ) = j } x ( i ) ∑ i = 1 m 1 { z ( i ) = j } {\displaystyle \mu _{j}={\frac {\sum _{i=1}^{m}1\{z^{(i)}=j\}x^{(i)}}{\sum _{i=1}^{m}1\left\{z^{(i)}=j\right\}}}} Σ j = ∑ i = 1 m 1 { z ( i ) = j } ( x ( i ) − μ j ) ( x ( i ) − μ j ) T ∑ i = 1 m 1 { z ( i ) = j } {\displaystyle \Sigma _{j}={\frac {\sum _{i=1}^{m}1\{z^{(i)}=j\}(x^{(i)}-\mu _{j})(x^{(i)}-\mu _{j})^{T}}{\sum _{i=1}^{m}1\{z^{(i)}=j\}}}} If z i {\displaystyle z_{i}} is known, the estimation of the parameters results to be quite simple with maximum likelihood estimation. But if z i {\displaystyle z_{i}} is unknown it is much more complicated. Being z {\displaystyle z} a latent variable (i.e. not observed), with unlabeled scenario, the expectation maximization algorithm is needed to estimate z {\displaystyle z} as well as other parameters. Generally, this problem is set as a GMM since the data in each group is normally distributed. In machine learning, the latent variable z {\displaystyle z} is considered as a latent pattern lying under the data, which the observer is not able to see very directly. x i {\displaystyle x_{i}} is the known data, while ϕ , μ , Σ {\displaystyle \phi ,\mu ,\Sigma } are the parameter of the model. With the EM algorithm, some underlying pattern z {\displaystyle z} in the data x i {\displaystyle x_{i}} can be found, along with the estimation of the parameters. The wide application of this circumstance in machine learning is what makes EM algorithm so important. == EM algorithm in GMM == The EM algorithm consists of two steps: the E-step and the M-step. Firstly, the model parameters and the z ( i ) {\displaystyle z^{(i)}} can be randomly initialized. In the E-step, the algorithm tries to guess the value of z ( i ) {\displaystyle z^{(i)}} based on the parameters, while in the M-step, the algorithm updates the value of the model parameters based on the guess of z ( i ) {\displaystyle z^{(i)}} of the E-step. These two steps are repeated until convergence is reached. The algorithm in GMM is: Repeat until convergence: 1. (E-step) For each i , j {\displaystyle i,j} , set w j ( i ) := p ( z ( i ) = j | x ( i ) ; ϕ , μ , Σ ) {\displaystyle w_{j}^{(i)}:=p\left(z^{(i)}=j|x^{(i)};\phi ,\mu ,\Sigma \right)} 2. (M-step) Update the parameters ϕ j := 1 m ∑ i = 1 m w j ( i ) {\displaystyle \phi _{j}:={\frac {1}{m}}\sum _{i=1}^{m}w_{j}^{(i)}} μ j := ∑ i = 1 m w j ( i ) x ( i ) ∑ i = 1 m w j ( i ) {\displaystyle \mu _{j}:={\frac {\sum _{i=1}^{m}w_{j}^{(i)}x^{(i)}}{\sum _{i=1}^{m}w_{j}^{(i)}}}} Σ j := ∑ i = 1 m w j ( i ) ( x ( i ) − μ j ) ( x ( i ) − μ j ) T ∑ i = 1 m w j ( i ) {\displaystyle \Sigma _{j}:={\frac {\sum _{i=1}^{m}w_{j}^{(i)}\left(x^{(i)}-\mu _{j}\right)\left(x^{(i)}-\mu _{j}\right)^{T}}{\sum _{i=1}^{m}w_{j}^{(i)}}}} With Bayes' rule, the following result is obtained by the E-step: p ( z ( i ) = j | x ( i ) ; ϕ , μ , Σ ) = p ( x ( i ) | z ( i ) = j ; μ , Σ ) p ( z ( i ) = j ; ϕ ) ∑ l = 1 k p ( x ( i ) | z ( i ) = l ; μ , Σ ) p ( z ( i ) = l ; ϕ ) {\displaystyle p\left(z^{(i)}=j|x^{(i)};\phi ,\mu ,\Sigma \right)={\frac {p\left(x^{(i)}|z^{(i)}=j;\mu ,\Sigma \right)p\left(z^{(i)}=j;\phi \right)}{\sum _{l=1}^{k}p\left(x^{(i)}|z^{(i)}=l;\mu ,\Sigma \right)p\left(z^{(i)}=l;\phi \right)}}} According to GMM setting, these following formulas are obtained: p ( x ( i ) | z ( i ) = j ; μ , Σ ) = 1 ( 2 π ) n / 2 | Σ j | 1 / 2 exp ⁡ ( − 1 2 ( x ( i ) − μ j ) T Σ j − 1 ( x ( i ) − μ j ) ) {\displaystyle p\left(x^{(i)}|z^{(i)}=j;\mu ,\Sigma \right)={\frac {1}{(2\pi )^{n/2}\left|\Sigma _{j}\right|^{1/2}}}\exp \left(-{\frac {1}{2}}\left(x^{(i)}-\mu _{j}\right)^{T}\Sigma _{j}^{-1}\left(x^{(i)}-\mu _{j}\right)\right)} p ( z ( i ) = j ; ϕ ) = ϕ j {\displaystyle p\left(z^{(i)}=j;\phi \right)=\phi _{j}} In this way, a switch between the E-step and the M-step is possible, according to the randomly initialized parameters.
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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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True Love (short story)

"True Love" is a science fiction short story by American writer Isaac Asimov. It was first published in the February 1977 issue of American Way magazine and reprinted in the collections The Complete Robot (1982) and Robot Dreams (1986). In his autobiography In Joy Still Felt, the author states that American Way had requested a Valentine's Day story from him for its February 1977 issue, and that he wrote the story to console himself after the departure of his daughter following a visit during the 1976 Thanksgiving weekend. == Plot summary == Milton Davidson is trying to find his ideal partner. To do this, he prepares a special computer program to run on Multivac, which he calls Joe, which has access to databases covering the entire populace of the world. He hopes that Joe will find him his ideal match, based on physical parameters as supplied. Milton arranges to have the shortlisted candidates assigned to work with him for short periods, but realises that looks alone are not enough to find an ideal match. In order to correlate personalities, he speaks at great length to Joe, gradually filling Joe's databanks with information about his personality. In doing so, Joe develops the personality of Milton. Upon finding an ideal match, he arranges to have Milton arrested for malfeasance, so that Joe can 'have the girl' for himself.
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Padre Pio (2022 film)

Padre Pio is a 2022 biographical drama film co-written and directed by Abel Ferrara. It stars Shia LaBeouf as the titular role of Padre Pio, a Capuchin Franciscan priest who receives the stigmata, in the background of the World War I in Italy. The film is a co-production of Italy, Germany and the United Kingdom. During its production, LaBeouf converted to Catholicism as result of his spiritual experiences in character as Pio, who is venerated as a saint by the Catholic Church. The film had its world premiere in the Giornate degli Autori section of the 79th Venice International Film Festival on 2 September 2022. It was released theatrically in the United Kingdom on 26 January 2024 by Dazzler Media and in Italy on 18 July 2024 by RS Productions. == Plot == It is the year 1920. Italian WWI veterans have returned to their impoverished villages. Padre Pio arrives at San Giovanni Rotondo after living with his family in Pietrelcina for a number of years. While still sick, he continues to encounter Satan. Satan reveals himself as the instigator of the war and the sociopolitical problems of San Giovanni. While having little contact with the people of this town, Padre Pio learns what the poor are suffering from in the Sacrament of Confession and the Holy Mass, such as when a crippled man walks again because of Padre Pio's prayer. Besides the effects of war, such as medical inadequacy, health conditions and labourers dying from the effects of mustard gas, the people suffer from corrupt, wealthy landowners. Gerardo, a militaristic anti-socialist, threatens to kill any communal labourers tending his land. Many of them join the socialist party as a way to improve their lives. However, after they win the first free election in San Giovanni, Gerardo's forces massacre many of them. Padre Pio asks God that he may become a suffering servant for their salvation. He receives the wounds of Jesus Christ. The stigmata disrupts Satan's influence on San Giovanni Rotondo. == Cast == Shia LaBeouf as Padre Pio Marco Leonardi as Gerardo Salvatore Ruocco as Vincenzo Cristina Chiriac as Giovanna Brando Pacitto as Renato Luca Lionello as Silvestro Asia Argento as Tall Man == Production == According to Abel Ferrara, actor Willem Dafoe suggested that Shia LaBeouf should be cast for the film's leading role. After Ferrara held several Zoom calls with LaBeouf, the latter agreed to join the film, even though very little money was raised (the film was almost never made) and LaBeouf did the project for free. LaBeouf arrived at Old Mission Santa Inés in July 2021 to learn about Padre Pio with the Capuchin Franciscan friars. Thanks to Father Bobby Barbato and Brother Jude Quinto, Br. Alexander Rodriguez met LaBeouf while he attended Mass every day. He learned about the Catholic Church and the Capuchins while living in his truck or spending a few nights in the Capuchin's guest room. He was immersing himself in the Catholic faith. He enrolled in RCIA, revised the script with Rodriguez and trained to do the Latin Mass. Rodriguez traveled with LaBeouf as his spiritual adviser and catechist and was in the film as Padre Pio's companion. Filming occurred in Apulia, Italy, in December 2021. The first place was at the Capuchin friary in San Marco la Catola. Padre Pio exchanged letters with his provincial and spiritual director while living in Pietrelcina with his family. The time was around 1909–1916. Both directors were living in San Marco during these years. Padre Pio expressed in his letters his deep and mysterious relationship with God and health difficulties. This event is in the film. While filming, LaBeouf slept in Padre Pio's bedroom. After San Marco, filming continued outside the Sanctuary of Saint Michael the Archangel in Monte Sant'Angelo. Traditionally, St. Michael appeared here in the late 400s. LaBeouf stayed and filmed for a few weeks at the Abbey of Saint Mary of Pulsano. It is near the sanctuary. The rest of the filming took place outside the sanctuary. Ferrara said in 2024 that he used AI for the Italian dub of this film. == Release == Padre Pio had its world premiere in the Giornate degli Autori section of the 79th Venice International Film Festival on 2 September 2022. It received a four-minute ovation. It also competed at the Rio de Janeiro International Film Festival. At the Lisbon & Estoril Film Festival, it was chosen to compete for the "Best Film Award." During its North American premiere at the Mammoth Film Festival, it won the "Achievement for Filmmaking" award for cinematography. At the Taormina Film Festival, it premiered worldwide in Italian. In March 2023, Gravitas Ventures acquired North American rights to the film. It was released in select theaters and on video on demand in the United States on 2 June 2023. The film was released in the United Kingdom and Ireland on 26 January 2024 by Dazzler Media. RS Productions released it in Italy on 18 July 2024. == Reception == On the review aggregator website Rotten Tomatoes, the film holds an approval rating of 30% based on 43 reviews, with an average rating of 4.5/10. The website's critics consensus reads, "Tonally unbalanced and burdened with a distracting Shia LaBeouf performance, Padre Pio is one of Abel Ferrara's less divine works." Metacritic, which uses a weighted average, assigned the film a score of 45 out of 100, based on 6 critics, indicating "mixed or average" reviews.. Jordan Mintzer of The Hollywood Reporter gave the film a negative review, describing it as "clunky" and criticizing its political themes for possessing "the subtlety of a cartoon for preschoolers." Brian Tallerico of RogerEbert.com gave the film one and a half stars out of four, describing it as a "dull slog". Journalist Glenn Kenny of The New York Times found the film "occasionally rank" and panned LaBeouf's performance, though complimented Ferrara's "sometimes Brechtian consideration of the nodes of political history and spirituality." Film critic Armond White of National Review also criticized the film, describing it as "a work of deluded, semi-improvisational navel-gazing". Film critic Peter Bradshaw of The Guardian gave the film a positive review, with three out of five stars, writing that it is "a weird film...with an undeveloped, improvised feel, like a fragment or shard of something else. Yet there is a background hum there...an awareness of something dark and malign. It is a minor film but interesting." Writing for The New Yorker, Richard Brody considered that "in its hectic, scattershot way, Padre Pio feels very much of the desperate present day," describing it as "a historical drama without historical distance" and "a wild effort to reach the immediate experience of the past and its furies." Faith-based reviews for the film were generally negative. It received negative reviews from Catholic Answers, The Catholic World Report, The Catholic Weekly, The Catholic Thing, and Crisis Magazine. Conversely, it received a mixed review from The Catholic Review, as well as a positive review from America. Criticisms were generally aimed at the film's sexual content and perceived support of left-wing politics.
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KE Software

KE Software is a formerly Australian-owned computer software company based in Manchester, United Kingdom, which specialises in collection management programs for museums, galleries and archives. The Axiell Group acquired the firm in 2014. == History == KE Software had its origins in investigations into electronic systems for managing natural science collections conducted in the late 1970s under a joint program of the University of Melbourne, the then National Museum of Victoria and the Australian Museum, which led to the development of the Titan Database in 1984. Much of the credit for the development of the project was due to the work of Martin Hallett of the Museum of Victoria which evolved into Textpress, and by 2000, the KE EMu database program. KE Software was bought by Axiell in 2014 and the team merged with the Axiell staff. Axiell continues to sell and support EMu. == Products == The firm has two main products: the Ke EMu Electronic Museum management system, a collections management system for museums; and Vitalware Vital Records Management System. The first version of Ke EMu was launched in 1997 and uses the Texpress database engine with client/server architecture on a Windows or Unix/Linux server. Ke Emu is consistent with the Dublin Core / Darwin Core standards for archive and museum catalogue metadata. "The company’s clients include the three largest museums in the world.: == KE EMu == KE EMu is considered one of the more effective and purpose-designed museum cataloguing programs. particularly in the creation of public interfaces to museum catalogue data. KE EMu was further developed in 1997 as a multilingual platform, which has been utilised in bilingual institutions such as the Canadian Museum of Civilisation. Subsequently this evolved into Texpress and KE EMu (standing for Electronic MUseum) in 2000, which is "now used across the world in natural science museums with huge collections'". KE EMu is used by a large number of museums and galleries around the world, including the Smithsonian Anthropological Collection, American Museum of Natural HistoryVancouver Art Gallery, New York Botanical Garden, the University of Chicago Research Archives, the University of Pennsylvania Museum in Philadelphia, the National Museum of Australia, the Australian Museum, Museum of Victoria, University of Melbourne Archives, and the Alexander Turnbull Library, National Library of New Zealand. There are over 300 clients, and more than 5000 users of the EMu software worldwide. The program has been described as providing "...comprehensive museum management (collection management plus other administrative needs for a museum), workflow and project management, flexible metadata, various stats and metrics, and comprehensive web interface with support for mobile devices and kiosks" == KE Vitalware == The firm's vitalware software is used by a number of governments and commercial organisations for managing and accessing large data sets, such as the birth records of the Trinidad and Tobago Registrar General, the Government of Anguilla, Ministry for Infrastructure, Communications, Utility and Housing, and the Mississippi Department of Information Technology Services. == Further development == A specialist tracking component for KE EMu has been developed by Forbes Hawkins of Museum Victoria. This enables locations to be barcoded, and data to be updated as items are moved around the stores, or between venues, display, laboratories and other locations. This system has been considered by Museums around the world. The company has been working with Australian government agencies to digitize birth deaths and marriage registers in order to cross match identity data. The program has also been used for managing the Australian Plant Disease Database and the Australian Plant Pest Database as the program "...has several features that have proven to be invaluable for a plant disease database".
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Course of Action Display and Evaluation Tool

Course of Action Display and Evaluation Tool (CADET) was a research program, and the eponymous prototype software system, that applied knowledge-based techniques of Artificial Intelligence to the problem of battle planning. CADET was also known as Course of Action Display and Elaboration Tool. It was considered an early example of such systems and was funded by the United States Army and by the Defense Advanced Research Projects Agency (DARPA). CADET influenced a later DARPA program called RAID which in turn produced a technology adopted by the United States Army and the United States Marine Corps. == History == The development of Course of Action Display and Evaluation Tool (CADET) began in 1996, at the Carnegie Group, Inc., Pittsburgh PA, funded under the Small Business Innovation Research (SBIR) program. The goal of the first phase SBIR project was to produce “...a live storyboard of [Course of Action] COA development, wargaming, animation, and assessment.” In 1997, the United States Army awarded the Carnegie Group Inc. $750K for SBIR Phase II. The intent was to develop “...a war-gaming modeling and analysis Decision Support System (DSS), … CADET will consist of a combination of Knowledge-Based and decision analytic tools and technologies to provide fast nimble COA war-gaming modeling, simulation, and animation under direct control of the commander and staff. ...Phase II will result in an operations prototype (OP) suitable for use and evaluation in field exercises.” In 2000, CADET was integrated and experimentally evaluated within the framework of the Integrated Course of Action Critiquing and Elaboration System (ICCES) experiment, conducted by the Battle Command Battle Laboratory – Leavenworth (BCBL-L) within the program Concept Experimentation Program (CEP) sponsored by TRADOC. In 2000-2002, DARPA applied CADET in the program titled Command Post of the Future (CPoF) as a tool to generate a course of action. Under the umbrella of the CPoF program, CADET was integrated with the FOX GA system to provide a detailed planner, coupled with COA generation capability. In the same period, Battle Command Battle Lab-Huachuca (BCBL-H) performed an integration CADET with the system called All Source Analysis System-Light (ASAS-L); here CADET was intended to generate plans for intelligence assets, and conduct wargames of different COAs, enemy versus friendly. From 1996 through 2002, work on CADET was performed by the Carnegie Group, Inc., and supported by funding from the US Army CECOM (CADET SBIR Phase I, CADET SBIR Phase II and CADET Enhancements); DARPA (Command Post of the Future); and TRADOC BCBL-H. == Operation == CADET was intended to be used by the staff of the United States Army Brigade, within the Military Decision Making Process (MDMP). In particular, CADET helped produce, automatically or semi-automatically, the products generated within the step of MDMP called Course of Action (COA) Development and the following step of MDMP called COA Analysis and Wargaming. CADET software resided on a laptop computer. Using the computer, the staff officers entered the input to CADET, or alternatively this input arrived at CADET from upstream computer systems. The input consisted of: Order of Battle, i.e., the units constituting the friendly brigade and the enemy units participating in the battle, and their various characteristics; primary activities of the Course of Action, where each activity is typically linked to one or more geographic areas or a route, and sometimes to a major unit executing the activity; digital map of the region where the battle was to take place, including the digital description of significant features such as locations of friendly and enemy units, roads, assembly areas, objectives, and axes of attacks. Taking this input, CADET automatically performed the following tasks (not sequentially): Planning and scheduling the low-level tasks necessary for a given COA Allocating tasks to various units and assets constituting the brigade Assigning suitable locations and routes Estimating the battle losses (attrition) of friendly and enemy forces, and consumption of resources (e.g., fuel and ammunition) Predicting enemy actions or reactions. CADET produced the following outputs: Synchronization matrix, directly editable and printable; synchronization matrix is a kind of Gantt chart that shows assignments of activities to units, to locations/routes and to time periods Map overlays in PPT or JPG formats Animation output XML formally-encoded plan Textual Operation Plan (OPLAN) draft E-mail messages with attachments: XML and text versions of OPLAN == Design == The core algorithm is a planning algorithm where CADET uses a knowledge-based approach of the hierarchical-task-network type. Each task class is associated with a model of more detailed subtasks that should be performed in order to accomplish the higher-level task. Algorithms selected (heuristically) a task and then decomposes it into subtasks. Although similar to hierarchical-task-network planning algorithm, CADET’s algorithm includes elements of adversarial reasoning. After adding a subtask, the algorithm uses rules to determine the enemy’s probable actions and reactions as well as friendly counteractions This approximated the action-reaction-counteraction technique of manual wargaming used by the United States Army. When a task involves movements of a unit, the algorithm performs routing, i.e., finds a route for the movement that minimizes the time required for the movement as well as exposure to the enemy attacks. Each added tasks (subtask) normally requires a unit which would execute the task, and a time period when the task would be executed. Therefore, when a certain number of subtasks is added by the planning process, the algorithm also performs the allocation of the newly added subtasks to units and to time periods (i.e., scheduling). allocation and scheduling of tasks relies on both domain-specific and constraint-guided heuristics. A tasks may also require expenditures of fuel and ammunition. If the tasks involves engagement with the enemy, the performing units will experience lossesof personnel and weapon systems (attrition). CADET’s algorithm includes estimates of consumption of different types of consumables, and also attrition. Depending on the degree of attrition and consumption, CADET adds tasks that are needed to refuel or reconstitute the units. The algorithm continually interleaves incremental steps of planning, routing, scheduling, and attrition and consumption estimates. == Evaluation == Two evaluation experiments are described in literature. The first experiment called ICCES took three days. The subjects were Army officers from combat arms branches, with 11 to 23 years of active service, in the ranks of majors and lieutenant colonels, a total of 8. Each officer was given 4 hours of training learning to operate CADET and related computer tools. Officers were divided into two groups and given a tactical scenario. One group (the control group) used the traditional, manual process; the other used the system called ICCES, the automated core of which was CADET. Each group produced three COA sketches and statements and one COA synchronization matrix. Then, the experiment was repeated with another scenario but the control group became the automated group and vice versa. The users were generally satisfied with the quality of the ICCES-generated products. The group using ICCES made only a few changes to the product that was automatically generated, indicating that they agreed with the majority of the plan that ICCES produced. The second experiment was reminiscent of Turing test. The experiment involved one user, nine judges (active-duty officers, mainly colonels and lieutenant colonels), and five scenarios obtained from several US Army exercises. For each scenario, experimenters obtained synchronization matrices that were produced in earlier exercises, typically by a team of four to five officers in three to four hours, spending approximately 16 person-hours in total. Using these scenarios and COAs, the user had CADET generate automatically detailed plans and express them as synchronization matrices. The user, a retired US Army officer, reviewed and slightly edited the matrices. The entire process took less than two minutes of computations by and approximately 20 minutes of review and post-editing, approximately 0.4 person-hour in total per product. The experimenters gave the resulting matrices the same visual style as those produced by humans. The judges, who did not know whether a planning product was a traditional product of humans, or with computerized aids, were asked to grade the products. The result was that the average grades for manual products and CADET-generated products were statistically indistinguishable, even though CADET-generated products required far less time to produce. == Legacy == CADET served as “...an example of how even relatively basic A
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Clanker

Clanker is a derogatory term for robots and artificial intelligence (AI) software. The term has been used in Star Wars media, first appearing in the franchise's 2005 video game Star Wars: Republic Commando. In 2025, the term became widely used to express hatred or distaste for machines ranging from delivery robots to large language models. This trend has been attributed to anxiety around the negative societal effects of AI. == In science fiction == The term has been previously used in science fiction literature, first appearing in a 1958 article by William Tenn in which he uses it to describe robots from science fiction films like Metropolis. The Star Wars franchise began using the term as a slur against droids in the 2005 video game Star Wars: Republic Commando before being prominently used in the animated series Star Wars: The Clone Wars, which follows a galaxy-wide war between the Galactic Republic's clone troopers and the Confederacy of Independent Systems' battle droids. In Star Wars media, robots—more commonly known as droids—are routinely depicted as the subjects of discrimination. For example, in the original Star Wars film, C-3PO and R2-D2 are abducted by Jawas and sold to the family of Luke Skywalker. When visiting a cantina in Mos Eisley, both droids are refused service by the bartender, who remarks that "We don't serve their kind." In Star Wars lore, the term clanker had entered use by the time of the franchise's High Republic Era and became prominent during the Clone Wars, in which clone troopers regularly use the phrase against battle droids. == AI backlash == The growing popularity of the term clanker reflects an increase in direct contact between people and AI systems. On sidewalks, delivery robots impede mobility and cause safety issues. In digital spaces, cybersecurity experts have raised concerns about the rising number of bots online, which now make up a large portion of internet traffic. A 2025 report estimated that about one in five social media accounts are automated. The term is also a reaction to AI advocacy from industrialists like Elon Musk and Sam Altman, who have championed the integration of AI into nearly every aspect of modern life. This includes efforts by major companies and startups alike, such as Amazon's development of humanoid robots to replace human workers in service industries. Such initiatives have further fueled public skepticism, reinforcing the association of clanker with unease over automation and the displacement of human roles. A global survey conducted by the research firm Gartner in December 2023 found that 64% of customers would prefer companies to avoid using AI in customer service, with another 53% stating they would consider switching to a different company if they discovered AI was handling their service interactions. Another report by Ernst & Young, published in July 2025, found that 42% of employees across Europe are worried that the use of AI in the workplace may threaten their employment. Criticism has also been directed at the technology itself. Some of the backlash stems from concerns about the resource consumption of AI systems, their frequent reliance on copyrighted material without consent, and questions about the intentions of the corporations behind them. There are also concerns about the potential cognitive effects of relying heavily on AI. A study, authored by researchers at Microsoft and Carnegie Mellon University, warns that regular dependence on AI may leave users mentally unprepared for real-world problem solving, likening the effect to cognitive atrophy. In June 2025, United States Senator Ruben Gallego tweeted that his "new bill makes sure you don't have to talk to a clanker if you don't want to", referring to proposed legislation that would require call centers to disclose their use of automated customer service agents to callers in the United States and offer the option to switch to a human representative. == Analysis == Linguist Adam Aleksic has described clanker as an evolution of racial slurs that anthropomorphize robotic systems. Internet memes incorporating the term often reference historical discrimination against marginalized groups such as African Americans. Based on the work of linguist Geoffrey Nunberg, American news website Axios has argued that clanker is merely a derogatory word, rather than a slur, because it does not perpetuate social inequities. NPR has noted the irony that the word robot was coined by Karel Čapek for his 1920 science-fiction play R.U.R. as a similar criticism of industrialization forcing workers to become devoid of their humanity. Aleksic has observed that robot can be further traced to the Proto-Slavic noun orbъ, which means 'slave'. While other science fiction media include pejoratives for androids and robots, such as skinjob and toaster from the Blade Runner and Battlestar Galactica franchises, respectively, clanker is believed to have gained popularity because its usage is intuitive and flexible. Whereas AI slop describes low-quality output from artificial intelligence, clanker belittles the underlying computer systems.
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