The psychology of cybersecurity (often intersecting with usable security and cyberpsychology) is an interdisciplinary field studying how human behavior, cognitive biases, and social dynamics influence information security. While traditional cybersecurity focuses on hardware and software vulnerabilities, this discipline addresses the "human factor," which is exploited in cyberattacks. Psychology in cybersecurity draws from cognitive psychology and human–computer interaction. == History and evolution == The challenge of human behavior in computing was noted as early as the 1960s with multi-user mainframes like the Compatible Time-Sharing System (CTSS). In 1966, a software error on CTSS caused the system's master password file to be displayed to every user upon login—one of the earliest documented security incidents attributable to a combination of system design and human factors. These behaviors gained broader significance in the 1990s as the Internet became widely accessible. High-profile incidents involving figures like Kevin Mitnick demonstrated how human trust could be exploited through social engineering such as pretexting over the phone. == Cognitive and behavioral factors == Much of the psychology of cybersecurity focuses on decision-making under stress or uncertainty. Researchers apply frameworks like dual process theory to explain why humans fall for phishing or business email compromise. Threat actors design malicious communications to trigger fast, emotional "System 1" thinking—using urgency, authority, or panic, which prompts users to click a link or wire funds before their analytical "System 2" can assess the situation's legitimacy. Industry research has consistently documented the effectiveness of these techniques at scale, pointing to several recurring psychological phenomena that influence daily security practices: Cognitive biases: The optimism bias leads users to believe they are unlikely to be targeted by cybercriminals, resulting in lax password practices or delayed software updates. The availability heuristic causes individuals to focus on highly publicized, sophisticated threats while ignoring common, statistically probable risks like credential reuse. Social influence: Attackers leverage established principles of persuasion, such as those categorized by Robert Cialdini. Impersonating a CEO leverages the psychological trigger of authority, while fake tech support scams use reciprocity (offering to fix a problem before asking for network credentials). == Neurological and pre-cognitive factors == Functional magnetic resonance imaging (fMRI) studies show that neural activation in visual and attentional regions decreases with repeated exposure to the same stimulus, a phenomenon termed repetition suppression. Experiments have confirmed this effect in the context of security warnings: static warning designs produce declines in user attention and adherence. Information processing research on phishing indicates that affective cues, such as artificial urgency or fear, increase cognitive load and elicit automatic heuristic processing, reducing the likelihood of analytical evaluation and facilitating compliance with malicious requests. == Security fatigue and organizational dynamics == Aggressive cybersecurity postures can sometimes lead to mental and emotional exhaustion, a phenomenon known as security fatigue. === Alert fatigue === One example is alert fatigue, which most frequently affects both end-users and security operations center analysts. Continuous exposure to browser warnings or antivirus pop-ups, particularly those that are false positives, conditions users to dismiss alerts automatically due to the volume of notifications rather than their repetitive appearance (see § Neurological and pre-cognitive factors). The scale of this problem is significant in enterprise: SOC teams in large organizations receive thousands of alerts daily, and a survey published in ACM Computer Surveys found that analysts spend over 25% of their time handling false positives, meaning that malicious indicators can be buried in the noise. === Password fatigue === Similarly, password fatigue is the feeling experienced by many people who are required to remember an excessive number of passwords as part of their daily routine, such as to log in to a computer at work. Users cope with the memory burden by making predictable, iterative changes to their passwords (such as updating "Password01!" to "Password02!"), which decreases password security.
Keyword extraction
Keyword extraction is tasked with the automatic identification of terms that best describe the subject of a document. Key phrases, key terms, key segments or just keywords are the terminology which is used for defining the terms that represent the most relevant information contained in the document. Although the terminology is different, function is the same: characterization of the topic discussed in a document. The task of keyword extraction is an important problem in text mining, information extraction, information retrieval and natural language processing (NLP). == Keyword assignment vs. extraction == Keyword assignment methods can be roughly divided into: keyword assignment (keywords are chosen from controlled vocabulary or taxonomy) and keyword extraction (keywords are chosen from words that are explicitly mentioned in original text). Methods for automatic keyword extraction can be supervised, semi-supervised, or unsupervised. Unsupervised methods can be further divided into simple statistics, linguistics or graph-based, or ensemble methods that combine some or most of these methods.
Alec Radford
Alec Radford is an American artificial intelligence researcher. == Biography == Radford grew up in Texas. He graduated from Cistercian Preparatory School in 2011, where he became an Eagle Scout, and dropped out of Olin College in August 2014, where he and fellow students Slater Victoroff, Diana Yuan, and Madison May had formed the startup Indico in their dorm room. In 2015, the quartet were joined by Luke Metz and the firm and the Facebook AI research lab in New York used generative adversarial networks to create realistic low pixel images. A demonstration of Indico's technology was used without proper attribution in an April 2016 demonstration by Nvidia chief executive Jensen Huang. Radford joined OpenAI around 2016, where he worked on natural-language processing. The following year, Radford trained a neural network on Amazon reviews. The model was fairly basic, with layers which allowed for human understanding. Upon exploring it, he saw that it had a special neuron linked to the sentiment of the reviews, which it had created on its own. This was a drastic improvement from previous neural networks that had analysed sentiment, because they had to be told to do so and specially trained on data that was explicitly labeled according to sentiment. This development made OpenAI chief scientist Ilya Sutskever consider that a future model, using more diverse language data, could map far more structures of meaning, eventually becoming a "learned core module" for superintelligence. In 2018, Radford was the lead author on OpenAI's seminal research paper on generative pre-trained transformers, which form the foundation of ChatGPT. At OpenAI, he worked on early GPT models, Whisper, a speech recognition model, and the image generator DALL-E. He left OpenAI in December 2024 to pursue independent research. Around March 2025, Radford joined Thinking Machines Lab as an advisor. He joined along with Bob McGrew who was previously the chief research officer of OpenAI. In April 2026, Radford, Nick Levine, and David Duvenaud released Talkie, an AI model trained on books, newspapers, scientific journals, patents, and case law published before December 31, 1930. When asked about the state of the world in 2026, it stated that one billion people would live in Europe, that London and New York would be connected by steamships that transit between the two in ten days, and "winter will be passed in Paris, and the summer in London."
Turing test
The Turing test, originally called the imitation game by Alan Turing in 1949, is a test of a machine's ability to exhibit intelligent behaviour equivalent to that of a human. In the test, a human evaluator judges a text transcript of a natural-language conversation between a human and a machine. The evaluator tries to identify the machine, and the machine passes if the evaluator cannot reliably tell them apart. The results would not depend on the machine's ability to answer questions correctly, only on how closely its answers resembled those of a human. Since the Turing test is a test of indistinguishability in performance capacity, the verbal version generalizes naturally to all of human performance capacity, verbal as well as nonverbal (robotic). The test was introduced by Turing in his 1950 paper "Computing Machinery and Intelligence" while working at the University of Manchester. It opens with the words: "I propose to consider the question, 'Can machines think?'." Because "thinking" is difficult to define, Turing chooses to "replace the question by another, which is closely related to it and is expressed in relatively unambiguous words". Turing describes the new form of the problem in terms of a three-person party game called the "imitation game", in which an interrogator asks questions of a man and a woman in another room in order to determine the correct sex of the two players. Turing's new question is: "Are there imaginable digital computers which would do well in the imitation game?" This question, Turing believed, was one that could actually be answered. In the remainder of the paper, he argued against the major objections to the proposition that "machines can think". Since Turing introduced his test, it has been highly influential in the philosophy of artificial intelligence, resulting in substantial discussion and controversy, as well as criticism from philosophers like John Searle, who argue against the test's ability to detect consciousness. == History == === Philosophical background === The question of whether it is possible for machines to think has a long history, which is firmly entrenched in the distinction between dualist and materialist views of the mind. René Descartes prefigures aspects of the Turing test in his 1637 Discourse on the Method when he writes: [H]ow many different automata or moving machines could be made by the industry of man ... For we can easily understand a machine's being constituted so that it can utter words, and even emit some responses to action on it of a corporeal kind, which brings about a change in its organs; for instance, if touched in a particular part it may ask what we wish to say to it; if in another part it may exclaim that it is being hurt, and so on. But it never happens that it arranges its speech in various ways, in order to reply appropriately to everything that may be said in its presence, as even the lowest type of man can do. Here Descartes notes that automata are capable of responding to human interactions but argues that such automata cannot respond appropriately to things said in their presence in the way that any human can. Descartes therefore prefigures the Turing test by defining the insufficiency of appropriate linguistic response as that which separates the human from the automaton. Descartes fails to consider the possibility that future automata might be able to overcome such insufficiency, and so does not propose the Turing test as such, even if he prefigures its conceptual framework and criterion. Denis Diderot formulates in his 1746 book Pensées philosophiques a Turing-test criterion, though with the important implicit limiting assumption maintained, of the participants being natural living beings, rather than considering created artifacts: If they find a parrot who could answer to everything, I would claim it to be an intelligent being without hesitation. This does not mean he agrees with this, but that it was already a common argument of materialists at that time. According to dualism, the mind is non-physical (or, at the very least, has non-physical properties) and, therefore, cannot be explained in purely physical terms. According to materialism, the mind can be explained physically, which leaves open the possibility of minds that are produced artificially. In 1936, philosopher Alfred Ayer considered the standard philosophical question of other minds: how do we know that other people have the same conscious experiences that we do? In his book, Language, Truth and Logic, Ayer suggested a protocol to distinguish between a conscious man and an unconscious machine: "The only ground I can have for asserting that an object which appears to be conscious is not really a conscious being, but only a dummy or a machine, is that it fails to satisfy one of the empirical tests by which the presence or absence of consciousness is determined". (This suggestion is very similar to the Turing test, but it is not certain that Ayer's popular philosophical classic was familiar to Turing.) In other words, a thing is not conscious if it fails the consciousness test. === Cultural background === A rudimentary idea of the Turing test appears in the 1726 novel Gulliver's Travels by Jonathan Swift. When Gulliver is brought before the king of Brobdingnag, the king thinks at first that Gulliver might be a "a piece of clock-work (which is in that country arrived to a very great perfection) contrived by some ingenious artist". Even when he hears Gulliver speaking, the king still doubts whether Gulliver was taught "a set of words" to make him "sell at a better price". Gulliver tells that only after "he put several other questions to me, and still received rational answers" the king became satisfied that Gulliver was not a machine. Tests where a human judges whether a computer or an alien is intelligent were an established convention in science fiction by the 1940s, and it is likely that Turing would have been aware of these. Stanley G. Weinbaum's "A Martian Odyssey" (1934) provides an example of how nuanced such tests could be. Earlier examples of machines or automatons attempting to pass as human include the Ancient Greek myth of Pygmalion who creates a sculpture of a woman that is animated by Aphrodite, Carlo Collodi's novel The Adventures of Pinocchio, about a puppet who wants to become a real boy, and E. T. A. Hoffmann's 1816 story "The Sandman," where the protagonist falls in love with an automaton. In all these examples, people are fooled by artificial beings that—up to a point—pass as human. === Alan Turing and the imitation game === Researchers in the United Kingdom had been exploring "machine intelligence" for up to ten years prior to the founding of the field of artificial intelligence (AI) research in 1956. It was a common topic among the members of the Ratio Club, an informal group of British cybernetics and electronics researchers that included Alan Turing. Turing, in particular, had been running the notion of machine intelligence since at least 1941 and one of the earliest-known mentions of "computer intelligence" was made by him in 1947. In Turing's report, "Intelligent Machinery," he investigated "the question of whether or not it is possible for machinery to show intelligent behaviour" and, as part of that investigation, proposed what may be considered the forerunner to his later tests: It is not difficult to devise a paper machine which will play a not very bad game of chess. Now get three men A, B and C as subjects for the experiment. A and C are to be rather poor chess players, B is the operator who works the paper machine. ... Two rooms are used with some arrangement for communicating moves, and a game is played between C and either A or the paper machine. C may find it quite difficult to tell which he is playing. "Computing Machinery and Intelligence" (1950) was the first published paper by Turing to focus exclusively on machine intelligence. Turing begins the 1950 paper with the claim, "I propose to consider the question 'Can machines think?'" As he highlights, the traditional approach to such a question is to start with definitions, defining both the terms "machine" and "think". Turing chooses not to do so; instead, he replaces the question with a new one, "which is closely related to it and is expressed in relatively unambiguous words". In essence he proposes to change the question from "Can machines think?" to "Can machines do what we (as thinking entities) can do?" The advantage of the new question, Turing argues, is that it draws "a fairly sharp line between the physical and intellectual capacities of a man". To demonstrate this approach Turing proposes a test inspired by a party game, known as the "imitation game", in which a man and a woman go into separate rooms and guests try to tell them apart by writing a series of questions and reading the typewritten answers sent back. In this game, both the man and the woman aim to convince the guests that they ar
Computational creativity
Computational creativity (also known as artificial creativity, mechanical creativity, creative computing or creative computation) is a multidisciplinary endeavour that is located at the intersection of the fields of artificial intelligence, cognitive psychology, philosophy, and the arts (e.g., computational art as part of computational culture). Is the application of computer systems to emulate human-like creative processes, facilitating the generation of artistic and design outputs that mimic innovation and originality. The goal of computational creativity is to model, simulate or replicate creativity using a computer, to achieve one of several ends: To construct a program or computer capable of human-level creativity. To better understand human creativity and to formulate an algorithmic perspective on creative behavior in humans. To design programs that can enhance human creativity without necessarily being creative themselves. The field of computational creativity concerns itself with theoretical and practical issues in the study of creativity. Theoretical work on the nature and proper definition of creativity is performed in parallel with practical work on the implementation of systems that exhibit creativity, with one strand of work informing the other. The applied form of computational creativity is known as media synthesis. == Theoretical issues == Theoretical approaches concern the essence of creativity. Especially, under what circumstances it is possible to call the model a "creative" if eminent creativity is about rule-breaking or the disavowal of convention. This is a variant of Ada Lovelace's objection to machine intelligence, as recapitulated by modern theorists such as Teresa Amabile. If a machine can do only what it was programmed to do, how can its behavior ever be called creative? Indeed, not all computer theorists would agree with the premise that computers can only do what they are programmed to do—a key point in favor of computational creativity. == Defining creativity in computational terms == Because no single perspective or definition seems to offer a complete picture of creativity, the AI researchers Newell, Shaw and Simon developed the combination of novelty and usefulness into the cornerstone of a multi-pronged view of creativity, one that uses the following four criteria to categorize a given answer or solution as creative: The answer is novel and useful (either for the individual or for society) The answer demands that we reject ideas we had previously accepted The answer results from intense motivation and persistence The answer comes from clarifying a problem that was originally vague Margaret Boden focused on the first two of these criteria, arguing instead that creativity (at least when asking whether computers could be creative) should be defined as "the ability to come up with ideas or artifacts that are new, surprising, and valuable". Mihaly Csikszentmihalyi argued that creativity had to be considered instead in a social context, and his DIFI (Domain-Individual-Field Interaction) framework has since strongly influenced the field. In DIFI, an individual produces works whose novelty and value are assessed by the field—other people in society—providing feedback and ultimately adding the work, now deemed creative, to the domain of societal works from which an individual might be later influenced. Whereas the above reflects a top-down approach to computational creativity, an alternative thread has developed among bottom-up computational psychologists involved in artificial neural network research. During the late 1980s and early 1990s, for example, such generative neural systems were driven by genetic algorithms. Experiments involving recurrent nets were successful in hybridizing simple musical melodies and predicting listener expectations. == Historical evolution of computational creativity == The use computational processes to generate creative artifacts has been present from early times in history. During the late 1800's, methods for composing music combinatorily were explored, involving prominent figures like Mozart, Bach, Haydn, and Kiernberger. This approach extended to analytical endeavors as early as 1934, where simple mechanical models were built to explore mathematical problem solving. Professional interest in the creative aspect of computation also was commonly addressed in early discussions of artificial intelligence. The 1956 Dartmouth Conference, listed creativity, invention, and discovery as key goals for artificial intelligence. As the development of computers allowed systems of greater complexity, the 1970's and 1980's saw invention of early systems that modelled creativity using symbolic or rule-based approaches. The field of creative storytelling investigated several such models. Meehan's TALE-SPIN (1977) generated narratives through simulation of character goals and decision trees. Dehn's AUTHOR (1981) approached generation by simulating an author's process for crafting a story. Beyond narrative generation, computational creativity expanded into artistic and scientific domains. Artistic image generation was one of the disciplines that saw early potential in generated artifacts through computational creativity. One of the most prominent examples was Harold Cohen's AARON, which produced art through composition and adaptation of figures based on a large set of symbolic rules and heuristics for visual composition. Some systems also tackled creativity in scientific endeavors. BACON was said to rediscover natural laws like Boyle's Law and Kepler's law through hypothesis testing in constrained spaces. By the 1990's the modeling techniques became more adaptive, attempting to implement cognitive creative rules for generation. Turner's MINSTREL (1993) introduced TRAMs (Transform Recall Adapt Methods) to simulate creative re-use of prior material for generative storytelling. Meanwhile, Pérez y Pérez's MEXICA (1999) modeled the creative writing process using cycles of engagement and reflection. As systems increasingly incorporated models of internal evaluation, another approach that emerged was that of combining symbolic generation with domain-specific evaluation metrics, modeling generative and selective steps to creativity In the field of generational humor, the JAPE system (1994) generated pun-based riddles using Prolog and WordNet, applying symbolic pattern-matching rules and a large lexical database (WordNet) to compose riddles involving wordplay. WordNet is a system developed by George Miller and his team at Princeton, its platform and inspired word-mapping structures have been used as the backbone of several syntactic and semantic AI programs. A notable system for music generation was David Cope's EMI (Experiments in Musical Intelligence) or Emmy, which was trained in the styles of artists like Bach, Beethoven, or Chopin and generated novel pieces in their style through pattern abstraction and recomposition. In the 2000s and beyond, machine learning began influencing creative system design. Researchers such as Mihalcea and Strapparava trained classifiers to distinguish humorous from non-humorous text, using stylistic and semantic features. Meanwhile custom computational approaches led to chess systems like Deep Blue generating quasi-creative gameplay strategies through search algorithms and parallel processing constrained by specific rules and patterns for evaluation. The institutional development of computational creativity grew along its technical advances. Dedicated workshops such as the IJWCC emerged in the 1990s, growing out of interdisciplinary conferences focused on AI and creativity. By the early 2000s, the field coalesced around annual conferences like the International Conference on Computational Creativity (ICCC). Recently, with the advent of Deep Learning, Transformers, and further refinement in Machine Learning structures, computational creativity's implementation space has new tools for development. == Machine learning for computational creativity == While traditional computational approaches to creativity rely on the explicit formulation of prescriptions by developers and a certain degree of randomness in computer programs, machine learning methods allow computer programs to learn on heuristics from input data enabling creative capacities within the computer programs. Especially, deep artificial neural networks allow to learn patterns from input data that allow for the non-linear generation of creative artefacts. Before 1989, artificial neural networks have been used to model certain aspects of creativity. Peter Todd (1989) first trained a neural network to reproduce musical melodies from a training set of musical pieces. Then he used a change algorithm to modify the network's input parameters. The network was able to randomly generate new music in a highly uncontrolled manner. In 1992, Todd extended this work, using the so-called distal teacher approach that had been d
Web development
Web development is the process of designing, developing and maintaining websites and web apps. Web development encompasses several different fields, most commonly referring to the programming of websites. Front-end development is the act of developing the user interface and client-side code, while back-end development focuses on the infrastructure behind a website, mainly server-side code. Since the World Wide Web was released publicly in 1993, web development has evolved greatly, with websites changing from a collection of static HTML pages to complex projects using frameworks, servers, and databases. == Overview == Web development includes many individual tasks, including web design, web content development, networking, and coding. Among web professionals, "web development" usually refers to the main non-design aspects of building websites: writing markup and coding. Web development is generally split into two fields: front-end development and back-end development. Front-end developers create the user interface of websites, turning web designs into HTML, CSS, and JavaScript code. Front-end developers must also make sure that websites work consistently across different browsers and devices. Back-end development, also known as server-side development, focuses on the infrastructure behind a website, including APIs, database management, and security. Some choose to be full-stack developers, meaning they work on both the front-end and back-end. == History == The World Wide Web is often categorised into three generations: Web 1.0, Web 2.0, and Web 3.0 (or Web3). It was invented in 1989, and released to the public in 1993. In the early years of the web, restrospecitvely referred to as Web 1.0, websites were simply a collection of static HTML files, and had limited interactivity. After the introduction of JavaScript in 1995, websites could contain logic, allowing for interactivity. The following year CSS was released, allowing greater control over the styling of web pages. In 1999, the term Web 2.0 was coined by Darcy DiNucci. The term later resurfaced in the early 2000s, as websites started to increase in complexity, requiring server-side services in addition to JavaScript. This led to the emergence of various new programming languages and frameworks designed for backend services, such as PHP, Active Server Pages, and Jakarta Server Pages. This enabled websites to do additional server-side processing, such as accessing databases. Another shift in web development was the release of the iPhone in 2007. This created a new medium for accessing the web, requiring a new approach to web development, and resulting in responsive web design, which allows a single website to appear different depending on the device running it. Later, progressive web apps were introduced, allowing websites to be installed on a device as an independent application. In the 2010s, JavaScript frameworks began to emerge, creating new ways to manipulate web pages, and increasing compatibility between web browsers. JQuery was popular in the early 2010s, but was later surpassed by other frameworks such as React and Vue.js. In the mid 2020s, use of AI became prevalent among web developers, with the 2025 Stack Overflow survey showing over 80% of developers saying the use AI at least monthly in their development process.
The Emperor's New Mind
The Emperor's New Mind: Concerning Computers, Minds and The Laws of Physics is a 1989 book by the mathematical physicist Roger Penrose that posits a quantum mind theory. Penrose argues that human consciousness is non-algorithmic, and thus is not capable of being modeled by a conventional Turing machine, which includes a digital computer. Penrose hypothesizes that quantum mechanics plays an essential role in the understanding of human consciousness. The collapse of the quantum wavefunction is seen as playing an important role in brain function. Most of the book is spent reviewing, for the scientifically-minded lay-reader, a plethora of interrelated subjects such as Newtonian physics, special and general relativity, the philosophy and limitations of mathematics, quantum physics, cosmology, and the nature of time. Penrose intermittently describes how each of these bears on his developing theme: that consciousness is not "algorithmic". Only the later portions of the book address the thesis directly. == Overview == Penrose states that his ideas on the nature of consciousness are speculative, and his thesis is considered erroneous by some experts in the fields of philosophy, computer science, and robotics. The Emperor's New Mind attacks the claims of artificial intelligence using the physics of computing: Penrose notes that the present home of computing lies more in the tangible world of classical mechanics than in the imponderable realm of quantum mechanics. The modern computer is a deterministic system that for the most part simply executes algorithms. Penrose shows that, by reconfiguring the boundaries of a billiard table, one might make a computer in which the billiard balls act as message carriers and their interactions act as logical decisions. The billiard-ball computer was first designed some years ago by Edward Fredkin and Tommaso Toffoli of the Massachusetts Institute of Technology. == Reception == Following the publication of the book, Penrose began to collaborate with Stuart Hameroff on a biological analog to quantum computation involving microtubules, which became the foundation for his subsequent book, Shadows of the Mind: A Search for the Missing Science of Consciousness. Penrose won the Science Book Prize in 1990 for The Emperor's New Mind. According to an article in the American Journal of Physics, Penrose incorrectly claims a barrier far away from a localized particle can affect the particle.