MoltenVK is a software library which allows Vulkan applications to run on top of Metal on Apple's macOS, iOS, and tvOS operating systems. It is the first software component to be released for the Vulkan Portability Initiative, a project to have a subset of Vulkan run on platforms lacking native Vulkan drivers. There are some limitations compared with a native Vulkan implementation. == History == MoltenVK was first released as a proprietary and commercially licensed product by The Brenwill Workshop on July 27, 2016. On July 31, 2017, Khronos announced the formation of the Vulkan Portability Technical Subgroup. === Open source === On February 26, 2018, Khronos announced that Vulkan became available on macOS and iOS products through the MoltenVK library. Valve announced that Dota 2 will run on macOS using the Vulkan API with the aid of MoltenVK, and that they had made an arrangement with developer The Brenwill Workshop Ltd to release MoltenVK as open-source software under the Apache License version 2.0. On May 30, 2018, Qt was updated with Vulkan for Qt on macOS using MoltenVK. On May 31, 2018, optional Vulkan support for Dota 2 on macOS was released. Benchmarks for the game were available the following day, showing better performance using Vulkan and MoltenVK compared to OpenGL. On July 20, 2018, Wine was updated with Vulkan support on macOS using MoltenVK. On 29 July 2018, the first app using MoltenVK was accepted onto the App Store, after initially being rejected. On 6 August 2018, Google open-sourced Filament, a crossplatform real-time physically based rendering engine with MoltenVK for macOS/iOS. On November 28, 2018, Valve released Artifact, their first Vulkan-only game on macOS using MoltenVK. === Version 1.0 === On 29 January 2019, MoltenVK 1.0.32 was released with early prototype of Vulkan Portability Extensions. RPCS3 and Dolphin emulators were updated with Vulkan support on macOS using MoltenVK. On 13 April 2019, MoltenVK 1.0.34 was released with support for tessellation. On July 30, 2019, MoltenVK 1.0.36 was released targeting Metal 3.0. On July 31, 2020, MoltenVK 1.0.44 was released, adding support for the tvOS platform. On January 23, 2020, MoltenVK was updated to support for some of the new features of Vulkan 1.2, as of Vulkan SDK 1.2.121. === Version 1.1 === On October 1, 2020, MoltenVK 1.1.0 was released, adding full support for Vulkan 1.1, as of Vulkan SDK 1.2.154. On 9 December 2020, MoltenVK 1.1.1 was released, providing support for Vulkan on Apple silicon GPUs and support for the Mac Catalyst platform for porting iOS/iPadOS apps to macOS. === Version 1.2 === On October 18, 2022, MoltenVK 1.2.0 was released, adding full support for Vulkan 1.2 as of Vulkan SDK 1.3.231. In January 2023, MoltenVK 1.2.2 added support for Vulkan as of SDK 1.3.239, while this version of Vulkan SDK fixed some issues with the interconnectivity with Metal API, while version 1.2.3 supported some additional extensions. === Version 1.3 === On May 1, 2025, MoltenVK 1.3 was released with support for Vulkan 1.3. === Version 1.4 === On August 20, 2025, MoltenVK 1.4 was released with support for Vulkan 1.4.
CLEVER score
The CLEVER (Cross Lipschitz Extreme Value for nEtwork Robustness) score is a way of measuring the robustness of an artificial neural network towards adversarial attacks. It was developed by a team at the MIT-IBM Watson AI Lab in IBM Research and first presented at the 2018 International Conference on Learning Representations. It was mentioned and reviewed by Ian Goodfellow as well. It was adopted into an educational game Fool The Bank by Narendra Nath Joshi, Abhishek Bhandwaldar and Casey Dugan
Lukas Biewald
Lukas Biewald (born 1981) is an American entrepreneur and a prominent figure in artificial intelligence. He is recognized for his contributions to machine learning and as the CEO and co-founder of Weights & Biases, a company that builds developer tools for AI, that sold to CoreWeave in 2025 for $1.7B. He previously founded and was CEO of Figure Eight, a human-in-the-loop machine learning platform. He has co-authored 26 AI research papers from 2004 through 2018. == Early life and education == Biewald was born in Boston, Massachusetts in 1981. He attended Cambridge Rindge and Latin School and later earned both a Bachelor's and Master's degree in Computer science from Stanford University. == Early Career and Founding Figure Eight == After graduation, Biewald joined Yahoo! as an engineer, working on machine translations to improve search results, and eventually led the Search Relevance Team for Yahoo! Japan. He later joined Powerset, a natural language search technology company, as their Senior Scientist, which was acquired by Microsoft in 2008 for an estimated $100M. In 2007, Biewald co-founded Figure Eight (formerly CrowdFlower), a data labeling and crowdsourcing company that created datasets for training machine learning models. Figure Eight was acquired by Appen in 2019 for $300 million. == Weights and Biases == In 2017, Biewald co-founded Weights & Biases with Chris Van Pelt and Shawn Lewis. The company provides tools for tracking machine learning experiments, model management, and collaborative AI and LLM app development. The platform has been adopted by organizations such as OpenAI, Salesforce, and Microsoft. In March 2025 Coreweave acquired Weights and Biases at $1.7 billion, with the transaction closing on May 5, 2025. == Gradient Dissent == Biewald hosts the bi-weekly podcast Gradient Dissent. Guest have included: Anthony Goldbloom – Co-founder & CEO of Kaggle. “How to Win Kaggle Competitions” (podcast, Sep. 9, 2020). Shared tips on data-science competitions from the founder of the largest ML community. Richard Socher – Founder & CEO of You.com; former Chief Scientist at Salesforce. “The Challenges of Making ML Work in the Real World” (podcast, September 28, 2020). A leading NLP researcher, he spoke on multimodal search engines powered by large language models. Jensen Huang – Founder & CEO of NVIDIA. “NVIDIA’s CEO on the Next Generation of AI and MLOps” (podcast, March 3, 2022). Huang’s GPUs power modern ML research and production. Emad Mostaque – Co-founder & CEO of Stability AI. “Stable Diffusion, Stability AI, and What’s Next” (podcast, Nov. 15, 2022). Leads the company behind Stable Diffusion, which helped spark the generative-AI imaging boom. Drago Anguelov – Head of Research at Waymo. “Robustness, Safety, and Scalability at Waymo” (podcast, July 14, 2022). Covered Waymo’s self-driving AI advances and deployment challenges. Jeremy Howard – Co-founder of fast.ai. “The Simple but Profound Insight Behind Diffusion” (podcast, Jan. 5, 2023). Known for democratizing deep-learning education; discussed diffusion models and accessible AI tooling. Aidan Gomez – Co-founder & CEO of Cohere. “Scaling LLMs and Accelerating Adoption” (podcast, April 20, 2023). Co-author of “Attention Is All You Need,” he shared how Cohere delivers large-scale NLP models as a service. Chelsea Finn – Stanford Assistant Professor (AI & Robotics). “Shaping the World of Robotics with Chelsea Finn” (podcast, February 15, 2024). A pioneer in meta-learning and robotics, she detailed robots learning complex tasks like cooking. Andrew Feldman – Co-founder & CEO of Cerebras Systems. "Launching the Fastest AI Inference Solution" (podcast, August 27, 2024). Described wafer-scale AI chips achieving new training performance records. Thomas Dohmke – CEO of GitHub. “GitHub CEO on Copilot and the Future of Software Development” (podcast, June 10, 2025). Discussed building Copilot and the future of AI-assisted coding. Martin Shkreli – Founder of Godel Terminal. “From Pharma to AGI Hype, and Developing AI in Finance: Martin Shkreli’s Journey” (podcast, May 20, 2025). Shkreli reflects on his pharma controversies, prison experience, and his new AI-driven trading platform. Jarek Kutylowski – Founder & CEO of DeepL. “How DeepL Built a Translation Powerhouse with AI” (podcast, July 8, 2025). Shared how DeepL’s neural-MT rivals Google Translate through model and infrastructure innovation. == Awards and recognition == In 2010, Lukas Biewald won the Netexplorateur Award for creating the GiveWork iPhone app, which allows users to perform small tasks that assist refugees and people in developing countries. In 2010, Inc Magazine included Biewald and Van Pelt on its list of the Top 30 Entrepreneurs Under 30. == Publications == Ensuring quality in crowdsourced search relevance evaluation: The effects of training question distribution by John Le, Andy Edmonds, Vaughn Hester, Lukas Biewald. SIGIR 2010 Workshop on Crowdsourcing for Search Evaluation, July 2010. Superficial Data Analysis: Exploring Millions of Social Stereotypes by Lukas Biewald, Brendan O’Connor. O’Reilly July 2009 Biewald has co-authored 26 AI research papers from 2004 through 2018.
Danilo McGarry
Danilo McGarry (born 1985) is a British tech executive, writer, and speaker who has led AI initiatives in finance and healthcare. == Early life and education == Danilo McGarry was born in 1985. He received a Bachelor of Science (BSc) with honors in Business Management from the University of Bath. == Career == McGarry began his career in technology and financial services, with positions at companies including Motorola, JPMorgan Chase, and BNP Paribas. He later joined the Royal Bank of Canada (RBC) as an analyst and later became a director, where he led transformation initiatives involving robotic process automation (RPA) in the bank's capital markets operations. McGarry subsequently moved into leadership roles focused on AI. At Citigroup, he served as Head of Artificial Intelligence and Machine Learning, where he launched an AI-driven robotics and automation initiative. At UnitedHealth Group (UHG), he held a senior role in the company's automation program, which utilized a large fleet of software robots in its healthcare operations. In December 2019, McGarry was appointed Global Head of AI & Automation at Alter Domus, a multinational financial services firm. In this role, he established a new AI and automation department. He left the firm in late 2023 to establish his businesses. In 2025, the Chartered Institute of Personnel and Development (CIPD) appointed him as its strategic adviser on artificial intelligence.
Interim Measures for the Management of Anthropomorphic AI Interactive Services
The Interim Measures for the Management of Anthropomorphic AI Interactive Services (Chinese: 人工智能拟人化互动服务管理暂行办法) is a document proposed by the Cyberspace Administration of China to regulate anthropomorphic artificial intelligence systems. The draft was released on December 27, 2026 for public comment period until January 25, 2026. The proposed document would prohibit AI companies and users of AI services from generating certain types of content deemed harmful to national interests or the social order, and impose various regulatory and safety requirements on providers of AI systems. The proposed regulation is motivated by concerns about the psychological and social effects of AI systems that are perceived as personalities by their users, including addiction, encouragement of self-harm, or generation of illegal content. == Description == === Scope === The regulation would apply to AI systems that are offered to the general public within China. They would not apply to company-internal or research use, or to products that are only available outside of China. For the purpose of the regulation, anthropomorphic Ai systems are defined as those that "simulate human personality traits, modes of thinking, and communication styles, and that engage in emotional interaction with humans through text, images, audio, video, or other means". === Requirements === The regulation would require AI providers to monitor users for signs of harmful use and to take various interventions when indications of harmful use are detected. It would also prohibit AI systems from certain types of behaviors and generation of certain types of content. In some circumstances where a user appears to be at risk of self harm, the system would be required to hand over control to a human operator who would manually intervene. The regulation would also require more rigorous practices for managing the provenance of training data used to develop these systems, and would require explicit opt-in consent from users before their interactions with an AI system were used as training data. Data used to train the regulated systems would be required to reflect core socialist values and traditional Chinese culture.
Inpainting
Inpainting is a conservation process where damaged, deteriorated, or missing parts of an artwork are filled in to present a complete image. This process is commonly used in image restoration. It can be applied to both physical and digital art mediums such as oil or acrylic paintings, chemical photographic prints, sculptures, or digital images and video. With its roots in physical artwork, such as painting and sculpture, traditional inpainting is performed by a trained art conservator who has carefully studied the artwork to determine the mediums and techniques used in the piece, potential risks of treatments, and ethical appropriateness of treatment. == History == The modern use of inpainting can be traced back to Pietro Edwards (1744–1821), Director of the Restoration of the Public Pictures in Venice, Italy. Using a scientific approach, Edwards focused his restoration efforts on the intentions of the artist. It was during the 1930 International Conference for the Study of Scientific Methods for the Examination and Preservation of Works of Art, that the modern approach to inpainting was established. Helmut Ruhemann (1891–1973), a German restorer and conservator, led the discussions on the use of inpainting in conservation. Helmut Ruhemann was a leading figure in modernizing restoration and conservation. His greatest contribution to the field of conservation "was his insistence on following the methods of the original painter exactly, and on understanding the painter's artistic intention". After his career of over 40 years as a conservator, Ruhemann published his treatise The Cleaning of Paintings: Problems & Potentialities in 1968. In describing his method, Ruhemann states that "The surface [of the fill] should be slightly lower than that of the surrounding paint to allow for the thickness of the inpainting...Inpainting medium should look and behave like the original medium, but must not darken with age." Cesare Brandi (1906–1988) developed the teoria del restauro, the inpainting approach combining aesthetics and psychology. However, this approach was used primarily by Italian restorers and conservators, with the terminology becoming widespread in the 1990s. Technological advancements led to new applications of inpainting. Widespread use of digital techniques range from entirely automatic computerized inpainting to tools used to simulate the process manually. Since the mid-1990s, the process of inpainting has evolved to include digital media. More commonly known as image or video interpolation, a form of estimation, digital inpainting includes the use of computer software that relies on sophisticated algorithms to replace lost or corrupted parts of the image data. == Ethics == In order to preserve the integrity of an original artwork, any inpainting technique or treatment applied to physical or digital work should be reversible or distinguishable from the original content of the artwork. Prior to any treatments, conservators proceed according to the American Institute of Conservation of Historical and Artistic Works. There are several ethic considerations before Inpainting can be justified. Various deliberation decisions over the ethical appropriateness of the amount and type of inpainting done, resides on many factors. As most conservation treatments, inpainting's ethical questions rest mainly with authenticity, reversibility and documentation.Any intervention to compensate for loss should be documented in treatment records and reports and should be detectable by common examination methods. Such compensation should be reversible and should not falsely modify the known aesthetic, conceptual, and physical characteristics of the cultural property, especially by removing or obscuring original material.New technologies and the aesthetic demand for perfect images without imperfections challenge conservators' ethical practices to protect the integrity of originals. == Methods == Inpainting methods and techniques depend on the desired goal and type of image being treated. Treatments to fill in the gaps are different between physical and digital art. In inpainting, detailed records of the initial state of the images can help with the treatment and replicate the original closer. === Physical inpainting === Inpainting is rooted in the conservation and restoration of paintings. Inpainting can aim to make a visual improvement to the artwork as a whole by repairing missing or damaged parts using methods and materials equivalent to the original artist's work. ==== Application techniques ==== By studying the painting methods of various artists and the composition of paints used historically, conservators are able to restore works very closely to their original visual appearance. The picture as a whole determines how to fill in the gap. Helmut Ruhemann's inpainting techniques by Jessell have procedures to "preserve" the quality of oil and tempera paintings. === Digital inpainting === Many programs are able to reconstruct missing or damaged areas of digital photographs and videos. Most widely known for use with digital images is Adobe Photoshop. Given the various abilities of the digital camera and the digitization of old photos, inpainting has become an automatic process that can be performed on digital images. The inpainting techniques can be applied to object removal, text removal, and other automatic modifications of images and videos. In video special effects, inpainting is usually performed after video matting. They can also be observed in applications like image compression and super-resolution. In photography and cinema, it is used for film restoration to reverse, repair, or mitigate deterioration (e.g., physical damage such as cracks in photographs, scratches and dust spots in film, or chemical damage resulting in image loss; performed infrared cleaning). It can also be used for removing red-eye, the stamped date from photographs, and objects for creative effect. This technique can be used to replace any lost blocks in the coding and transmission of images, for example, in a streaming video. It can also be used to remove logos or watermarks in videos. Deep learning neural network-based inpainting can be used for decensoring images. Deep image prior-based techniques can be used for digital image inpainting, where a trained deep learning model is either unavailable or infeasible. Deep models for visual content generation, like text-to-image or text-to-video, learn complex priors over the distribution of visual content, and can be used to inpaint missing parts. For example, videos can be separated into layers, using a technique called omnimatte, which either pretrain an omnimatte model or without any training using an omnimatte-zero model. Three main groups of 2D image-inpainting algorithms can be found in the literature. The first one to be noted is structural (or geometric) inpainting, the second one is texture inpainting, the last one is a combination of these two techniques. They use the information of the known or non-destroyed image areas in order to fill the gap, similar to how physical images are restored. ==== Structural ==== Structural or geometric inpainting is used for smooth images that have strong, defined borders. There are many different approaches to geometric inpainting, but they all come from the idea that geometry can be recovered from similar areas or domains. Bertalmio proposed a method of structural inpainting that mimics how conservators address painting restoration. Bertalmio proposed that by progressively transferring similar information from the borders of an inpainting domain inwards, the gap can be filled. ==== Textural ==== While structural/geometric inpainting works to repair smooth images, textural inpainting works best with images that are heavily textured. Texture has a repetitive pattern which means that a missing portion cannot be restored by continuing the level lines into the gap; level lines provide a complete, stable representation of an image. To repair texture in an image, one can combine frequency and spatial domain information to fill in a selected area with a desired texture. This method, while the most simple and very effective, works well when selecting a texture to be in-painted. For a texture that covers a wider area or a larger frame one would have to go through the image segmenting the areas to be in-painted and selecting the corresponding textures from throughout the image; there are programs that can help find the corresponding areas that work in a similar way as 'find and replace' works in a word processor. ==== Combined structural and textural ==== Combined structural and textural inpainting approaches simultaneously try to perform texture- and structure-filling in regions of missing image information. Most parts of an image consist of texture and structure and the boundaries between image regions contain a large amount of structural information. This is the result when blending differ
LipNet
LipNet is a deep neural network for audio-visual speech recognition (ASVR). It was created by University of Oxford researchers Yannis Assael, Brendan Shillingford, Shimon Whiteson, and Nando de Freitas. The researchers stated that could match mouth movements to text with 93 percent accuracy, though it was criticized for its test using a limited dataset of words and grammar. It was used in Nvidia's autonomous "backseat driver" prototype Co-Pilot.