Artificial consciousness, also known as machine consciousness, synthetic consciousness, or digital consciousness, is consciousness hypothesized to be possible for artificial intelligence. It is also the corresponding field of study, which draws insights from philosophy of mind, philosophy of artificial intelligence, cognitive science and neuroscience. The term "sentience" can be used when specifically designating ethical considerations stemming from a form of phenomenal consciousness (P-consciousness, or the ability to feel qualia). Since sentience involves the ability to experience ethically positive or negative (i.e., valenced) mental states, it may justify welfare concerns and legal protection, as with non-human animals. Some scholars believe that consciousness is generated by the interoperation of various parts of the brain; these mechanisms are labeled the neural correlates of consciousness (NCC). Some further believe that constructing a system (e.g., a computer system) that can emulate this NCC interoperation would result in a system that is conscious. Some scholars reject the possibility of non-biological conscious beings. == Philosophical views == As there are many hypothesized types of consciousness, there are many potential implementations of artificial consciousness. In the philosophical literature, perhaps the most common taxonomy of consciousness is into "access" and "phenomenal" variants. Access consciousness concerns those aspects of experience that can be apprehended, while phenomenal consciousness concerns those aspects of experience that seemingly cannot be apprehended, instead being characterized qualitatively in terms of "raw feels", "what it is like" or qualia. === Plausibility debate === Type-identity theorists and other skeptics hold the view that consciousness can be realized only in particular physical systems because consciousness has properties that necessarily depend on physical constitution. In his 2001 article "Artificial Consciousness: Utopia or Real Possibility," Giorgio Buttazzo says that a common objection to artificial consciousness is that, "Working in a fully automated mode, they [the computers] cannot exhibit creativity, unreprogrammation (which means can 'no longer be reprogrammed', from rethinking), emotions, or free will. A computer, like a washing machine, is a slave operated by its components." For other theorists (e.g., functionalists), who define mental states in terms of causal roles, any system that can instantiate the same pattern of causal roles, regardless of physical constitution, will instantiate the same mental states, including consciousness. ==== Thought experiments ==== David Chalmers proposed two thought experiments intending to demonstrate that "functionally isomorphic" systems (those with the same "fine-grained functional organization", i.e., the same information processing) will have qualitatively identical conscious experiences, regardless of whether they are based on biological neurons or digital hardware. The "fading qualia" is a reductio ad absurdum thought experiment. It involves replacing, one by one, the neurons of a brain with a functionally identical component, for example based on a silicon chip. Chalmers makes the hypothesis, knowing it in advance to be absurd, that "the qualia fade or disappear" when neurons are replaced one-by-one with identical silicon equivalents. Since the original neurons and their silicon counterparts are functionally identical, the brain's information processing should remain unchanged, and the subject's behaviour and introspective reports would stay exactly the same. Chalmers argues that this leads to an absurd conclusion: the subject would continue to report normal conscious experiences even as their actual qualia fade away. He concludes that the subject's qualia actually don't fade, and that the resulting robotic brain, once every neuron is replaced, would remain just as sentient as the original biological brain. Similarly, the "dancing qualia" thought experiment is another reductio ad absurdum argument. It supposes that two functionally isomorphic systems could have different perceptions (for instance, seeing the same object in different colors, like red and blue). It involves a switch that alternates between a chunk of brain that causes the perception of red, and a functionally isomorphic silicon chip, that causes the perception of blue. Since both perform the same function within the brain, the subject would not notice any change during the switch. Chalmers argues that this would be highly implausible if the qualia were truly switching between red and blue, hence the contradiction. Therefore, he concludes that the equivalent digital system would not only experience qualia, but it would perceive the same qualia as the biological system (e.g., seeing the same color). Greg Egan's short story Learning To Be Me (mentioned in §In fiction), illustrates how undetectable duplication of the brain and its functionality could be from a first-person perspective. Critics object that Chalmers' proposal begs the question in assuming that all mental properties and external connections are already sufficiently captured by abstract causal organization. Van Heuveln et al. argue that the dancing qualia argument contains an equivocation fallacy, conflating a "change in experience" between two systems with an "experience of change" within a single system. Mogensen argues that the fading qualia argument can be resisted by appealing to vagueness at the boundaries of consciousness and the holistic structure of conscious neural activity, which suggests consciousness may require specific biological substrates rather than being substrate-independent. Anil Seth argues that the complexity of brain neurons intrinsically matters in addition to their function and that it is not possible to replace any part of the brain with a perfect silicon equivalent. He points out that some of biological neurons exhibit activity aimed at cleaning up metabolic waste products, and writes that a perfect silicon replacement would require a silicon-based metabolism, but silicon is not suitable for creating such artificial metabolism. ==== In large language models ==== In 2022, Google engineer Blake Lemoine made a viral claim that Google's LaMDA chatbot was sentient. Lemoine supplied as evidence the chatbot's humanlike answers to many of his questions; however, the chatbot's behavior was judged by the scientific community as likely a consequence of mimicry, rather than machine sentience. Lemoine's claim was widely derided for being ridiculous. Moreover, attributing consciousness based solely on the basis of LLM outputs or the immersive experience created by an algorithm is considered a fallacy. However, while philosopher Nick Bostrom states that LaMDA is unlikely to be conscious, he additionally poses the question of "what grounds would a person have for being sure about it?" One would have to have access to unpublished information about LaMDA's architecture, and also would have to understand how consciousness works, and then figure out how to map the philosophy onto the machine: "(In the absence of these steps), it seems like one should be maybe a little bit uncertain. [...] there could well be other systems now, or in the relatively near future, that would start to satisfy the criteria." David Chalmers argued in 2023 that LLMs today display impressive conversational and general intelligence abilities, but are likely not conscious yet, as they lack some features that may be necessary, such as recurrent processing, a global workspace, and unified agency. Nonetheless, he considers that non-biological systems can be conscious, and suggested that future, extended models (LLM+s) incorporating these elements might eventually meet the criteria for consciousness, raising both profound scientific questions and significant ethical challenges. However, the view that consciousness can exist without biological phenomena is controversial and some reject it. Kristina Šekrst cautions that anthropomorphic terms such as "hallucination" can obscure important ontological differences between artificial and human cognition. While LLMs may produce human-like outputs, she argues that it does not justify ascribing mental states or consciousness to them. Instead, she advocates for an epistemological framework (such as reliabilism) that recognizes the distinct nature of AI knowledge production. She suggests that apparent understanding in LLMs may be a sophisticated form of AI hallucination. She also questions what would happen if an LLM were trained without any mention of consciousness. === Testing === Sentience is an inherently first-person phenomenon. Because of that, and due to the lack of an empirical definition of sentience, directly measuring it may be impossible. Although systems may display numerous behaviors correlated with sentience, determining whether a system is sentient is known as the hard pr
Glyph (data visualization)
In the context of data visualization, a glyph is any marker, such as an arrow or similar marking, used to specify part of a visualization. This is a representation to visualize data where the data set is presented as a collection of visual objects. These visual objects are collectively called a glyph. It helps visualizing data relation in data analysis, statistics, etc. by using any custom notation. In the context of data visualization, a glyph is the visual representation of a piece of data where the attributes of a graphical entity are dictated by one or more attributes of a data record. == Constructing glyphs == Glyph construction can be a complex process when there are many dimensions to be represented in the visualization. Maguire et al proposed a taxonomy based approach to glyph-design that uses a tree to guide the visual encodings used to representation various data items. Duffy et al created perhaps one of the most complex glyph representations with their representation of sperm movement.
Creator economy
The creator economy, also known as influencer economy, is a platform-driven economy in which creators produce content, products, or services and distribute them directly to their audience through social media platforms and emerging technologies. This economic model is based on the ability of creators to build and maintain communities of users, monetizing their creative activity through multiple channels including advertising, sponsorships, product sales, crowdfunding, and subscription-based services. Creators include various professional categories such as social media influencers, YouTubers, bloggers, artists, online educators, podcasters, and independent professionals, who use platforms as infrastructure to reach their audience without necessarily relying on traditional intermediaries in the cultural and media industry. According to Goldman Sachs Research, the ongoing growth of the creator economy will likely benefit companies that possess a combination of factors, including a large global user base, access to substantial capital, robust AI-powered recommendation engines, versatile monetization tools, comprehensive data analytics, and integrated e-commerce options. Examples of creator economy software platforms include YouTube, TikTok, Instagram, Facebook, Twitch, Spotify, Substack, OnlyFans and Patreon. == History == The term "creator" was coined by YouTube in 2011 to be used instead of "YouTube star", an expression that at the time could only apply to famous individuals on the platform. The term has since become omnipresent and is used to describe anyone creating any form of online content. A number of platforms such as TikTok, Snapchat, YouTube, and Facebook have set up funds with which to pay creators. == Criticism == The large majority of content creators derive no monetary gain for their creations, with most of the benefits accruing to the platforms who can make significant revenues from their uploads. As few as 0.1% of creators are able to earn a living through their channels.
Digital media service
A digital media service (DMS) is an online service provider that sells access to digital library of content such as films, software, games, images, literature, etc. While no transfer of property is made, a nearly perfect duplicate of the data (song movie, etc.) is made on a customer's computer. Content is either primarily hosted on a dedicated server, which is owned by the service provider, or it is hosted primarily on the hard drives of its customers using a P2P protocol with, perhaps, a dedicated server to supplement. == History == One example of the older business model is the iTunes Store, which still markets and prices data as individual retail products. There are no examples of the latter business model in operation yet, but one is currently in development by Global Gaming Factory X and expected to begin operation some time after they acquire The Pirate Bay domain on August 27, 2009. A key difference between the two models is that the model which relies on its customer base for offering their bandwidth for other customers to access customer hosted data can operate at significantly lower costs than a company that seeks to limit data access to a per-download fee in order to supplement the cost of using its own hosting and bandwidth. The P2P model holds the potential for companies to offer unlimited access to the largest data library in the history of the internet to its customers for a reasonably low membership rate that is relevant to the cost of operation. While the market is virtually untouched, the P2P supplemented model will need entrepreneurs who are able to overcome a series of challenges in order to compete with the older business model as well as that which is offered for free (and often against the wishes of copyright holders) by hundreds of P2P communities on the internet. These challenges include, but are not limited to: Offering better data quality, speed, convenience and ease of use, protocol, sense of security, indexing and search organization, site up time, data library size, customer support, advertising, artist/copyright holder incentives and compensation, incentives and compensation for customers hosting data and providing bandwidth, guaranteed seeding (available access to indexed data at all times), than competitors.
Deluxe Media
Deluxe Media Inc., also known simply as Deluxe and formerly Deluxe Entertainment Services Group, Inc., is an American multinational multimedia and entertainment service provisions company owned by Platinum Equity, founded in 1915 by Hungarian-born American film producer William Fox and headquartered in Burbank, California. The company services multiple clients in the film, television, digital content and advertising industries across the globe, and has been recognized with 10 Academy Awards for scientific and technical achievements, including developments in CinemaScope pictures (as part of 20th Century Fox) and more recently for a process of creating archival separations from digital image data. == History == Deluxe began as a film processing laboratory established in 1915 by William Fox under the name De Luxe as part of his eponymous film conglomerate corporation in Fort Lee, New Jersey. In 1916, Fox Film Corporation opened its studio in Hollywood on 13 acres at Sunset and Western. The first Deluxe film laboratory on the west coast was built on the south side of the lot (Fernwood and Serrano), and the laboratory was moved to the new Fox studios building on Manhattan's west side in 1919, where it remained for over 40 years. The "business manager" (later president) of the laboratory was Alan E. Freedman, who guided the company into the 1960s. In 1927, Fox (Deluxe) received a patent for sound-on-film, the Fox Movietone system. In 1927, "Sunrise: A Song of Two Humans," an early Movietone film, opened. Fox Movietone News, ran weekly in theaters until 1963. During the Great Depression, Fox Film Corporation encountered financial difficulties. Among the actions taken to maintain liquidity, Fox sold the laboratories in 1932 to Freedman, who renamed the operation Deluxe. Under Freedman's leadership, Deluxe added two more plants in Chicago and Toronto. In January 1934, Fox was granted an option to rebuy DeLuxe before December 31, 1938. On 31 May 1935, under Sidney Kent, Fox merged his film company with Twentieth Century Pictures to form The Twentieth Century-Fox Film Corporation following a bank-infused reorganisation. The merged company then exercised this option in July 1936, with Freedman remaining as president. In 1953, Deluxe developed the widescreen format CinemaScope. Titles included "There's No Business Like Show Business" (1954) and "The Seven Year Itch" (1955). Other innovations included the processing and sound striping of CinemaScope, and were patented and/or received Academy awards. In 1962 Freedman retired. In the 1960s, Deluxe closed its New York plant, followed by its plants in Chicago and Toronto, as motion picture production declined on the East Coast. In 1972, Deluxe began large volume videocassette production, with a billion by 1996. In 1990, The Rank Organisation acquired Deluxe from Fox. In 2000, Deluxe began large volume DVD production. In 2006, The Rank Organisation sold Deluxe Film Group to MacAndrews & Forbes, renamed Deluxe Entertainment Services Group. On 9 February 2012, Deluxe acquired Hong Kong–based visual effects and post-production company, Centro Digital Pictures, with its founder John Chu remaining as president while reporting to Alaric McAusland, managing director for Deluxe in Australia. In May 2014, Deluxe shut down its Los Angeles plant at Sunset & Western Studios complex, where other studios themselves were demolished way back in 1971. Also that same year, Deluxe closed the Hollywood film labs, and they gave thousands of orphaned film elements to the Academy Film Archive. The Deluxe Laboratories Collection at the Academy Film Archive consists of over 7,500 35mm and 16mm film elements of various motion pictures dating back to the early 1960s. On 22 April 2015, Deluxe and its longtime competitor, Technicolor S.A., announced that they had entered into a binding agreement to create a new joint venture known as Deluxe Technicolor Digital Cinema which will specialize in cinema mastering, distribution and management services. Deluxe got acquired on 4 September 2019 by creditors in a debt-for-equity swap to avoid bankruptcy. On 3 October 2019, Deluxe filed for bankruptcy, pending in the Southern District of New York. The same month on the 24th, the company received court approval to emerge from bankruptcy with a comprehensive restructuring plan. On July 1, 2020, Platinum Equity agreed to acquire the distribution division of Deluxe and re-unite with former CEO Cyril Drabinsky who would merge CineVizion, a film distribution company he founded after leaving Deluxe in 2016, into it. The companies Company 3 and Method Studios which formed the creative divisions of Deluxe were sold to Framestore in November 2020.
Multiple satellite imaging
Multiple satellite imaging is the process of using multiple satellites to gather more information than a single satellite so that a better estimate of the desired source is possible. Something that cannot be resolved with one telescope might be visible with two or more telescopes. == Background == Interferometry is the process of combining waves in such a way that they constructively interfere. When two or more independent sources detect a signal at the same given frequency those signals can be combined and the result is better than each one individually. An overview of Astronomical interferometers and a History of astronomical interferometry can be referenced from their respective pages. The NASA Origins Program was created in the 1990s to ultimately search for the origin of the universe. The theory that the Origins Program is based on is: since light travels at a constant speed until it is absorbed by something; there is still light that was part of the first light ever created traveling about the universe and ultimately some of that light is coming in the general direction of Earth. So a satellite system capable of collecting light from the beginning of the universe would be able to tell us more about where we came from. There is also the constant search for life in other worlds. A satellite system using the interferometric technologies mentioned above would be able to have a much higher resolution than any of the current deep space imaging systems. == Future == NASA is currently focused on the Vision for Space Exploration and has reduced current funding for scientific unmanned space exploration in favor of human exploration. These budget cuts have slowed the multiple satellite imaging development and relevant scientific missions as Project Prometheus and Terrestrial Planet Finder have ended as well but research continues.
TheFWA
FWA (Favourite Website Awards) is an international award platform that honors and rewards web designers, developers and agencies around the world for excellence within the field of web design and development. The FWA was founded in May 2000 by Rob Ford. In November 2012, The FWA was the most visited website award program in the history of the internet, with over 170 millions site visits. == Jury == The FWA jury is composed of more than 500 web professionals (200 women + 200 men) from 35 countries. == Awards granted == FWA of the Day (FOTD) : Every day, the FWA jury selects the best project, FWA of the Month (FOTM): Every month, the FWA jury selects the best project, People's Choice Award (PCA) : Every year, a public vote selects the people's favourite project, FWA of the Year (FOTY) : Every year, the FWA jury selects the best project. == Hall Of Fame == The FWA Hall of Fame was established in May 2007 (to celebrate the seventh anniversary of the FWA), as a recognition of web's greatest individuals and companies.