Ancient text corpora are the entire collection of texts from the period of ancient history, defined in this article as the period from the beginning of writing up to 300 AD. These corpora are important for the study of literature, history, linguistics, and other fields, and are a fundamental component of the world's cultural heritage. Chinese, Latin, and Greek are examples of ancient languages with significant text corpora, although much of these corpora are known to us via transmission (frequently via medieval manuscript copies) rather than in their original form. These texts – both transmitted and original – provide valuable insights into the history and culture of different regions of the world, and have been studied for centuries by scholars and researchers. Other ancient texts – particularly stone inscriptions and papyrus scrolls – have been published following archaeological research, notably the cuneiform corpus of c.10 million words and the c.5 million words in ancient Egyptian. Through advances in technology and digitization, ancient text corpora are more accessible than ever before. Tools such as the Perseus Digital Library and the Digital Corpus of Sanskrit have made it easier for researchers to access and analyze these texts. == Quantifying the corpora == Two types of ancient texts are known to modern scholars – those that have only survived in younger manuscripts, but whose great age is undisputed (this applies to the bulk of the Chinese, Brahmi, Greek, Latin, Hebrew and Avestan tradition), and those known from original inscriptions, papyri and other manuscripts. Counting of the words in each corpus presents significant methodological challenges – in principle, every single occurrence of a word in the text is counted separately, but in the case of parallel transmission of literary texts, only a single transmission is taken into account. Just as the Book of the Dead and the coffin texts are only included once in the number given for the Egyptian, the Greek and Latin literary works should only be counted according to one manuscript. If, on the other hand, tombs, royal inscriptions or economic documents of certain ancient languages often show a more or less identical form, this is not evaluated as a purely "parallel tradition". Attached prepositions are counted as separate words, except in the case of the definite article in Hebrew, Aramaic and Greek since it has no equivalent in most languages, so its frequency would significantly affect the comparability of numbers. === Languages with known size estimates === === South Asian === Sanskrit (Vedic Sanskrit and Classical Sanskrit) Indus script (3,800 items, c.20,000 characters) Brahmi script Old Tamil Early Indian epigraphy and Indian epic poetry Kharosthi Pali literature List of historic Indian texts === Mesoamerican === Olmec hieroglyphs Maya script === East Asian === Old Chinese Chinese classics The pre-Qin corpus: a collection of ancient Chinese texts written before the Qin dynasty (221 BCE). The corpus includes texts from Confucianism, Taoism, Legalism, and other schools of thought. The pre-Han corpus: a collection of ancient Chinese texts written before the Han dynasty (202 BCE). The corpus includes texts from Confucianism, Taoism, Legalism, and other schools of thought. See the Chinese Text Project Chinese bronze inscriptions, Oracle bone script, Seal script, Clerical script === Central Iranian languages === Prior to 300 AD, the Central Iranian languages are mainly in the form of Sassanid stone inscriptions in the two closely related idioms Middle Persian (Pahlavi scripts and Inscriptional Parthian), there are 5000 for the corpus of Middle Persian (mostly 3rd, but also 4th/5th centuries) and for the corpus of Parthian (3rd century) 3000 words. To what extent some of the Manichaean Middle Persian literary texts may date back to the 3rd century is difficult to estimate; Mani is said to have personally written the Shabuhragan totaling about 5000 words. In any case, if we combine Middle Persian and Parthian, we come to over 10,000 words. === Proto-Sinaitic === Proto-Sinaitic script has no more than about 400 letters (number of words is unknown since the script has not been fully interpreted). To a similar extent, there are probably approximately contemporaneous Proto-Canaanite inscriptions (ibid.). === Anatolian === Luwian cuneiform, approx. 3000 words the Palaic language few hundred words. Hieroglyphic Luwian the Lycian alphabet (the best attested Anatolian successor language written in alphabetic script) with about 5000 words The Lydian alphabet 109 inscriptions comprising about 1500 words The Phrygian alphabet the in-tomb inscriptions from the 2nd and 3rd centuries AD (approx. 1000 words) and in the so-called "old Phrygian" inscriptions less than 300 words The Carian alphabets whose texts, mainly from Egypt, contain around 600 words. === Old Italic === the Umbrian language attested essentially by the sacrificial instructions of the Iguvinian Tables with 5000 words the Oscan language (ibid.) with 2000 words the Messapic language with probably a good 1000 words (the estimate is difficult because most texts in this hardly understandable language do not use word separators) the Venetic language a few hundred words the Faliscan language a few hundred words Cisalpine Celtic inscriptions amount to approximately 2000 words, to which are added a number of glosses by classical authors === Iberia === Iberian scripts, more rarely written in Greek or Latin script, approx. 2500 words Celtiberian script, which refers to Celtic language testimonies in Iberian, but also in Latin script from Spain (approx. 1000 words) Southwest Paleohispanic script, 78 inscriptions, a few hundred words Lusitanian language, three monuments in Latin script, approx. 60 words === Germanic Northern Europe === Runic inscriptions dated before the 4th century amount to about 30 pieces, which contain no more than 50 words in total === Africa === Geʽez script: comparatively few inscriptions with a total of around 1,000 words before 300 AD. Following Christianization in the 4th century, more extensive texts are known. Libyco-Berber alphabet: over 1,000 inscriptions from the Maghreb, which are dated to Roman times. Most texts do not use a word separator; Peust estimates that the total number of words could be around 5,000 Meroitic script (Ancient Nubian): about 900 texts are known, which Peust estimates may contain approximately 10,000 words, albeit with uncertainty from the fact that the word separator is not used consistently in the Meroitic script. === Aegean === The Cretan Linear A inscriptions that have not yet been deciphered are available in about 2500 texts, which contain a total of around 20,000 characters. The total number of words can hardly be determined; Peust tentatively put it in the same order of magnitude as in Meroitic. In addition to the Linear A texts, there are also inscriptions Cretan hieroglyphs of a few hundred characters and texts written in the Greek alphabet, but not in Greek, with a few dozen words Cypriot syllabary in the first millennium BC, in which mostly Greek texts were recorded. The relevant texts comprise around 100 to 200 words. === Micro corpora === There are a significant number of ancient micro-corpus languages. Estimating the total number of attested ancient languages may be as difficult as estimating their corpus size. For example, Greek and Latin sources hand down an enormous amount of foreign-language glosses, the seriousness of which is not always certain. == Preservation and curation == Historic preservation and maintaining ancient text corpora presents several challenges, including issues with preservation, translation, and digitization. Many ancient texts have been lost over time, and those that survive may be damaged or fragmented. Translating ancient languages and scripts requires specialized expertise, and digitizing texts can be time-consuming and resource-intensive. == Corpus linguistics == The field of corpus linguistics studies language as expressed in text corpora. This includes the analysis of word frequency, collocations, grammar, and semantics. Ancient text corpora provide a valuable resource for corpus linguistics research, enabling scholars to explore the evolution of language and culture over time.
Relational data mining
Relational data mining is the data mining technique for relational databases. Unlike traditional data mining algorithms, which look for patterns in a single table (propositional patterns), relational data mining algorithms look for patterns among multiple tables (relational patterns). For most types of propositional patterns, there are corresponding relational patterns. For example, there are relational classification rules (relational classification), relational regression tree, and relational association rules. There are several approaches to relational data mining: Inductive Logic Programming (ILP) Statistical Relational Learning (SRL) Graph Mining Propositionalization Multi-view learning == Algorithms == Multi-Relation Association Rules: Multi-Relation Association Rules (MRAR) is a new class of association rules which in contrast to primitive, simple and even multi-relational association rules (that are usually extracted from multi-relational databases), each rule item consists of one entity but several relations. These relations indicate indirect relationship between the entities. Consider the following MRAR where the first item consists of three relations live in, nearby and humid: “Those who live in a place which is near by a city with humid climate type and also are younger than 20 -> their health condition is good”. Such association rules are extractable from RDBMS data or semantic web data. == Software == Safarii: a Data Mining environment for analysing large relational databases based on a multi-relational data mining engine. Dataconda: a software, free for research and teaching purposes, that helps mining relational databases without the use of SQL. == Datasets == Relational dataset repository: a collection of publicly available relational datasets.
Copyright and artificial intelligence in the United Kingdom
The interaction of artificial intelligence and copyright law has become one of the most contentious tech policy debates in the United Kingdom, centering on whether AI developers should be permitted to train their models on copyrighted material without explicit consent or remuneration. This debate has exposed a deep fracture between the creative industries, which seek to protect their intellectual property from unauthorised commercial exploitation, and tech companies. The academic and library sectors are also impacted, and argue that overly restrictive copyright laws hinder scientific research and the UK's sovereign AI capabilities. In 2024, the UK government proposed a broad text and data mining (TDM) exception to copyright that would have allowed AI companies to use publicly available copyrighted material for training, offering creators only an "opt-out" mechanism, similar to the exception introduced in Europe. This proposal faced intense opposition from across the creative sector. Trade unions representing writers, musicians, performers, and journalists argued that such an exception would effectively expropriate their members' work for the commercial benefit of tech giants. A report from the House of Lords Communications and Digital Committee, warned that generative AI posed a "clear and present danger" to the £124 billion creative economy. The government abandoned the opt-out model in March 2026, opting instead to build a stronger evidence base before pursuing any copyright reform. Conversely, the academic and library sectors have raised significant concerns that the UK's current TDM exception, which is strictly limited to non-commercial research, is too narrow. Universities and research libraries occupy a dual role as both creators of vast datasets and beneficiaries of TDM exceptions. They argue that the current legal framework restricts their ability to computationally analyse the very research they produce, thereby hobbling the UK's "AI for Science" strategy. Advocacy groups have highlighted a "triple payment" problem, wherein publicly funded research is handed over to publishers, who then charge universities substantial subscription fees and demand additional payments for specific TDM licences. This tension is further complicated by the commercial practices of major academic publishers. While publishers often restrict universities from using subscribed databases for AI training, they have simultaneously entered into lucrative, multi-million-dollar licensing agreements to sell access to this academic content to commercial AI developers. Furthermore, academics have accused publishers of actively steering authors away from permissive open-access licences towards more restrictive variants. By doing so, publishers retain the exclusive commercial rights necessary to strike these AI training deals, often without consulting the original authors or offering them any additional remuneration. This dynamic has not only reopened debates within the Open Access movement but has also created complex legal scenarios where publishers, rather than authors, control the terms of copyright litigation against major tech companies. == Training on copyrighted material == The question of whether AI developers should be permitted to train their models on copyrighted material without payment or consent has been one of the most contentious policy debates in the UK AI landscape. In 2024, the then-Conservative government proposed a broad text and data mining (TDM) exception that would have allowed AI companies to use any publicly available copyrighted material for training purposes, with creators able only to "opt out" of having their work used. This proposal provoked intense opposition from writers, musicians, visual artists, publishers, and broadcasters, who argued it would effectively expropriate their intellectual property for the commercial benefit of AI companies. The debate over text and data mining exceptions extends significantly beyond generative AI and the creative industries, implicating a wide range of scientific, industrial, and academic research applications. TDM is a foundational process for analysing large datasets to identify patterns, trends, and correlations, which is heavily utilised in fields such as medical research, climate modelling, and financial services. In the scientific and academic sectors, researchers rely on TDM to process vast amounts of published literature. For example, in biomedical research, TDM is used to accelerate drug discovery, identify new uses for existing medicines, and extract insights from clinical notes and genomic datasets. However, the application of traditional copyright frameworks to scientific literature has been criticised by academics. Researchers argue that scientific writing is intended to convey factual, verifiable information rather than creative originality, and that copyright restrictions on TDM hinder reproducibility, validation, and the advancement of science. The current UK copyright exception for TDM (Section 29A of the Copyright, Designs and Patents Act 1988) is limited strictly to non-commercial research, which creates barriers for public-private research partnerships and commercial scientific development. Beyond academia, non-generative AI and TDM are critical to various industrial and commercial operations. In the financial services sector, TDM is employed to monitor transactions, detect fraud, and analyse market feeds. Other non-generative applications include search engine indexing, plagiarism detection software, and media monitoring. A 2026 report by Public First estimated that 19% of UK businesses use specialised TDM tools, and that a restrictive copyright regime requiring licenses for all copyrighted content could cost the UK economy £220 billion in lost AI-driven GDP growth by 2035 compared to a broad commercial TDM exemption. Industry advocates argue that the lack of a commercial TDM exception in the UK creates legal uncertainty that stifles innovation across these broader, non-generative applications of data analysis. === Tech and AI industry positions === The technology and artificial intelligence industries lobbied for a broad text and data mining (TDM) exception to UK copyright law, arguing that such an exception is essential for the UK to remain globally competitive in AI development. Industry bodies such as techUK have argued that without a TDM exception, the UK risks becoming an "AI taker rather than an AI maker," as developers will relocate training operations to jurisdictions with more permissive copyright regimes, such as the United States, Japan, Singapore, and the European Union. During the UK government's 2024–2025 consultation on copyright and AI, major AI developers and trade associations strongly supported "Option 2" (a broad TDM exception) or "Option 3" (a TDM exception with an opt-out mechanism). OpenAI stated in its consultation response that a broad TDM exception is "necessary to drive AI innovation and investment in the UK," arguing that developers should be permitted to train models on lawfully accessed copies without further distribution. The Computer and Communications Industry Association (CCIA) similarly argued that restricting TDM to non-commercial development would undermine the government's ambitions for the UK tech sector and frustrate partnerships between commercial entities and research institutions. Tech industry advocates have also highlighted the economic implications of copyright policy. According to analysis by the think tank UK Day One, adopting an overly restrictive licensing-only approach could result in the UK economy losing up to £182 billion over 20 years, whereas a broad TDM exception could generate a positive impact of £131.61 billion over the same period. Following the government's March 2026 decision to drop plans for a TDM exception in favour of a market-led licensing approach, techUK's Deputy CEO Antony Walker criticised the move, stating that "copyright material cannot be used for AI development and training without permission" under the current framework, which he argued would push AI model training to the US. === Creative sector and political opposition to text and data mining === In March 2026, the House of Lords Communications and Digital Committee published a report, AI, Copyright and the Creative Industries, which concluded that the creative industries face "a clear and present danger from generative AI" and that it would be "a very poor bet" for the government to weaken copyright protections to attract AI investment. The Committee noted that the creative industries contributed £124 billion to the UK economy in 2023 and employed 2.4 million people, compared to the AI sector's £12 billion GVA and 86,000 employees in 2024. The Committee called on the government to develop a "licensing-first" regime underpinned by mandatory transparency requirements, and to rule out any new commercial TDM exception with an opt-out model. Tra
Aidan Gomez
Aidan Gomez is a British-Canadian computer scientist working in the field of artificial intelligence, with a focus on natural language processing. He is the co-founder and CEO of the technology company Cohere. == Early life and education == Gomez grew up in Brighton, Ontario. He graduated from the University of Toronto with a bachelor's degree in computer science and mathematics. He was pursuing a PhD in computer science from the University of Oxford. He paused his studies to launch Cohere. He was granted the PhD in 2024. == Career == In 2017, as a 20 year-old intern at Google Brain, Gomez was one of eight authors of the research paper "Attention Is All You Need", which is credited with changing the AI industry and helping lead to the creation of ChatGPT. The paper proposed a novel deep learning architecture called the transformer, that enables machine learning models to analyze large amounts of data for patterns, and then use those patterns to make predictions while leveraging GPU parallelization. It has been commonly adopted for training large language models and in the development of generative AI. In the same year, Gomez founded FOR.ai, a program to help researchers learn machine learning techniques in a collaborative format. An outgrowth of this project was Cohere For AI (now Cohere Labs), which released Aya, an open-source multilingual LLM. As a PhD student, Gomez worked as a machine learning researcher at Google Brain. At that time, he co-authored the paper "One Model to Learn Them All" about multi-task learning by a single neural network. In 2019, Gomez left Google Brain to launch Cohere, an enterprise-focused company that helps businesses implement AI into chatbots, search engines, and other products. As of Sept 2025, Cohere has raised about US$1.6 billion at valuation north of $7 billion, as Gomez leads the company as its CEO. Gomez was named to the 2023 Time 100/AI list of the most influential people in the field of artificial intelligence. He and his fellow Cohere founders Ivan Zhang and Nick Frosst were named number 1 on 2023 Maclean's AI Trailblazers Power List. In April 2025, Gomez was elected to the board of Rivian. == Views on AI == Gomez has stated that warnings regarding the existential risk from artificial intelligence are overblown, and that real risks involve the automated spread of misinformation on social media. He said that the United States would win the AI arms race over China.
No Fakes Act
The NO FAKES Act or the Nurture Originals, Foster Art, and Keep Entertainment Safe Act, is proposed United States federal legislation concerning digital replicas. The bill was first introduced in 2023 as a discussion draft, formally introduced in 2024, and reintroduced in 2025. If enacted, the bill would establish a federal right of publicity, giving public figures and private individuals greater control over the creation and use of digital replicas of their likenesses, including artificial intelligence (AI)-generated content. If passed, the NO FAKES Act would create a legal framework for licensing digital replicas, including provisions for liability, safe harbors, and statutory exceptions. The proposal has received broad support from the entertainment and technology industries. However, digital rights organizations have raised concerns that the Act risks chilling protected speech. == Background == === Entertainment industry concerns === Actors’ concerns over studios' use of their digital likeness were one of the primary drivers of the Screen Actors Guild–American Federation of Television and Radio Artists (SAG-AFTRA) strike in 2023. Negotiators for SAG-AFTRA alleged that the Alliance of Motion Picture and Television Producers (AMPTP) sought to use the digital likenesses of actors in perpetuity and would try to replace union members, especially background actors. The AMPTP denied SAG-AFTRA's interpretation of its proposal. In November 2023, AMPTP and SAG-AFTRA reached an agreement on the use of actors’ digital replicas, which included requirements for consent and compensation. Recording labels have also expressed concerns over unauthorized digital replicas of their performers' likeness. In 2023, TikTok user Ghostwriter977 released "Heart on My Sleeve," an AI-produced song in the styles of Drake and the Weeknd. After the song received millions of streams, the Universal Music Group (UMG) initiated takedown requests to TikTok and YouTube, which removed the song from their platforms. The legal arguments attorneys made were not disclosed; however, commentators noted that they likely used the Digital Millennium Copyright Act (DMCA). This presented a novel scenario, since UMG did not have licensing rights to "Heart on My Sleeve." According to The Verge, UMG based its DMCA takedown request on an unauthorized sample used at the start of the song for the producer tag. While legal commentators noted that UMG could have asserted a violation of the artists’ rights of publicity, existing state right of publicity laws do not provide notice-and-takedown mechanisms comparable to those under the DMCA. === Legal landscape === Legal scholars have observed that AI-generated digital replicas raise questions under existing copyright and intellectual property law. U.S. copyright law generally requires that original authorship be attributable to a human; however, the extent of human intervention needed to satisfy this requirement is not clear. Copyright holders have filed lawsuits against AI companies alleging unauthorized usage of copyrighted material to train their models, though many of these cases remain pending. In terms of outputs, record labels often hold rights to artists’ musical works but do not necessarily control the artists’ voice, appearance, or likeness in the same way. As a result, AI-generated recordings such as "Heart on My Sleeve" may fall outside the scope of certain traditional copyright protections. Individuals' likenesses have historically been governed under the Lanham Act, the Federal Trade Commission Act, and right of publicity laws. The right of publicity, recognized in many state-level statutes and common law, allows individuals to bring legal claims against unauthorized commercial use of their identities. It has often, but not exclusively, been applied to celebrities or other recognizable individuals. There is no federal-level right to publicity, and state-level protections vary, especially on issues relating to digital replicas and posthumous rights, which makes it difficult for creators or other individuals to prevent unauthorized use of their likenesses. In July 2024, the U.S. Copyright Office released a report on digital replicas and recommended that Congress create a federal law to protect individuals from unauthorized uses of their digital replicas, noting the inadequacy, narrowness, and inconsistency of existing laws. == Provisions == Under the NO FAKES Act of 2025, a digital replica is defined as "a newly created, computer-generated, highly realistic electronic representation that is readily identifiable as the voice or visual likeness of an individual," living or dead. A digital replica can be embodied in sound recordings, images, or audiovisual works in which the individual did not perform or in which the individual did perform but the "fundamental character of the performance or appearance has been materially altered." The Act specifies that digital replicas do not include reproduced samples of works authorized by the copyright holder. The Act defines a "right holder" as either the individual who is the subject of a digital replica or an entity that has acquired the rights to that individual’s likeness. The Act grants right holders the exclusive right to authorize the use of an individual’s likeness in a digital replica. This right is not assignable during the individual’s lifetime; however, it can be licensed to a living individual for up to 10 years under certain conditions. Postmortem rights The Act provides that the right does not automatically expire upon an individual’s death. It may be transferred to executors, heirs, or other parties designated by the individual. The right is held by the right holder for 10 years following the individual’s death. If the right holder demonstrates active use of the digital replica within the 2 years preceding the end of the 10-year term, the right may be extended for an additional 5-year period. These five-year extensions may be renewed for up to 70 years after the individual’s death. Liability The Act establishes liability for individuals who knowingly distribute a digital replica without authorization from the right holder, as well as for entities that make available a service primarily designed to produce unlawful digital replicas. Safe harbor provisions Similar to the Communications Decency Act and the DMCA, the Act establishes safe harbor provisions for online service providers. Providers are shielded from liability if they adopt and inform users of a policy for terminating accounts that repeatedly violate the Act. The NO FAKES Act does not require online services to proactively monitor content. Instead, it creates a notice-and-takedown mechanism under which providers must promptly respond to notifications seeking the removal of unauthorized digital replicas. These safe harbor protections apply only if the online service provider designates an agent with the U.S. Copyright Office to receive notifications of alleged violations. Remedies The NO FAKES Act provides remedies that are similar to those available under U.S. copyright law. Under the Act, individuals may be held liable for either statutory damages of $5,000 or actual damages for creating or distributing an unauthorized digital replica. The legislation also establishes a tiered liability framework for online service providers. Those that make good faith efforts to comply with the Act may face statutory damages of up to $25,000 per work for violations or actual damages. Providers that do not undertake such compliance efforts may be liable for $5,000 per unauthorized display or transmission of a digital replica, with damages capped at $750,000 per work. Exclusions The Act includes several exceptions to liability that are modeled in part on fair use principles. Digital replicas are excluded from liability when "used in a bona fide news, public affairs, or sports broadcast or account;" in a documentary or historical context; or in a way that is "consistent with the public interest." These exclusions do not apply to de minimis uses or to digital replicas that are sexually explicit in nature. The Act further states that licensing requirements do not apply to licenses established through collective bargaining agreements that contain provisions governing the use of digital replicas. The Act does not impose secondary liability on providers of generative artificial intelligence tools or services whose primary purpose is not the creation of unauthorized digital replicas. Preemption The NO FAKES Act preempts laws that protect "an individual's voice and visual likeness rights in connection with a digital replica, as defined in this Act, in an expressive work." However, the Act preserves state laws governing digital replicas enacted before January 2, 2025, as well as state laws addressing digital replicas that portray sexually explicit conduct. == History == In 2023, Senators Marsha Blackburn, Chris Coons, Amy Klobuchar, and Th
RagTime
RagTime is a frame-oriented business publishing software which combines word processing, spreadsheets, simple drawings, image processing, and charts, in a single document/program, integrated software. It is often used to create forms, reports, documentation, desktop publishing, and in office environments. Typical users are business clients, educational institutions, administrations, architects, and also private users. Ragtime includes the following modules: Page layout (forms, templates etc.) Word processing Image processing Spreadsheets, similar to Microsoft Excel Formulas and functions which can be used throughout, in text, graphics, and spreadsheets Charts in different types of diagrams Drawings in vector graphics including lines, polygons, Bézier curves and more Slide show (presentation of RagTime documents) Audio/video Buttons (pop-up menus, switches, and more) that can be used within RagTime documents Import/export of various file formats Support of the AppleScript scripting language available system-wide under macOS == Principle == RagTime differs from most other comparable programs or software packages in its strict frame-oriented design: all content is contained within frames on each page. The content can have a fixed position within its frame or, if it is text or a spreadsheet, flow into another frame that is connected to the first frame via a so-called “pipeline”. RagTime has no different document types for different types of data; all content is stored in a single compound document type. Thus, a RagTime document not only can contain multiple pages, but also multiple layouts within the same document; e.g. spreadsheets in addition to text and images. The RagTime filename extension is .rtd (RagTime document); for templates the extension is .rtt (RagTime template). The current version is RagTime 6.6.5. It is available for OS X (10.6-10.14) and Windows (XP/Vista/7/8/10). == Extensions == FileTime – allows accessing “FileMaker Pro” databases from RagTime documents under OS X RagTime Connect – ODBC database connection for RagTime 6 (Mac and Windows) Johannes – print extension for the simple creation of stapled or folded brochures, booklets etc. PowerFunctions – additional functions for a more effective creation of intelligent documents for exchanging data and for use in mixed Mac/Windows environments MetaFormula – SYLK-based extension that allows calculating text as formula == History == RagTime has been developed since 1985 for the Macintosh – originally named MacFrame – and was published in 1986. When released, it already had the present name, which was chosen following the then-available software package Lotus Jazz. In the European Macintosh market, RagTime quickly gained a prominent position that continues to this day, even though the market share has decreased. Despite repeated attempts, the program could not gain acceptance in the North American market due to its high cost ($395 in 1990). The North American sales office closed in 1991, shortly after Claris Corporation released ClarisWorks which duplicated much of the functionality of RagTime for a lower price. After the manufacturer – first Brüning & Everth, followed by B&E Software and today RagTime.de Development – had focused on the Macintosh only for a very long time, it also released a Windows version, RagTime 5.0, in 1999. However, the program could not assume great significance against established competitors, especially Microsoft Office. Until mid-2006 RagTime was, in addition to the commercial version, also available as a free version (RagTime Solo) for personal use. RagTime Solo included the same features and performance (except for spelling and Syllabification) dictionaries), but was not allowed for use in commercial environments. In other languages RagTime Solo was distributed as RagTime Privat. In a press release from July 5, 2006, RagTime announced the discontinuation of RagTime Solo: “… the RagTime Solo license conditions were often misinterpreted or deliberately flouted. Therefore we discontinued RagTime Solo, there will be no private version of RagTime 6 anymore.” After a successful start of the RagTime 6.0 software, sales edged significantly lower in the following years. Disagreements arose among the shareholders about the continuation of the company, which filed for bankruptcy in July 2007. As a result, the rights to RagTime were taken over by the newly established company RagTime.de Development GmbH, which was responsible for the development. The sales partner RagTime.de Sales GmbH distributed the RagTime products until October 2015. Today RagTime.de Development GmbH is also responsible for sales. The last level of development is the extensively revamped version RagTime 6.6 of 8 October 2015, which also includes new OS X features (e.g. high-resolution “Retina” displays) and supports Windows 10. == Programming == RagTime 1-3 were developed in Pascal, since version 4 the development is completely coded in C++. External programming and automation can be implemented via AppleScript on a Mac, and via OLE/COM-API (e.g. Visual Basic) under Windows. On a Mac, RagTime provides a comprehensive AppleScript library, for the automation of almost any task, from automatic document creation to the export of PDF documents. RagTime also supports “recordings” by use of the “AppleScript Editor”, which allows recording the interactive RagTime operation as an AppleScript program sequence. AppleScripts can be saved in the RagTime document and called via menu or shortcut keys. On Windows, RagTime (since version 6) disposes over an OLE/COM API, which allows automating many RagTime components via external programming. For that purpose there is a type library that installs the available RagTime OLE/COM object catalogue. Programming can be realized in all programming languages supported by Microsoft.
Leading the Future
Leading the Future is an American super PAC network focused on lobbying for policies friendly to the artificial intelligence industry. It was launched in 2025 with over $100 million from industry stakeholders including Andreessen Horowitz, OpenAI President Greg Brockman and Palantir co-founder Joe Lonsdale. The launch was preceded by talks between Collin McCune, head of government affairs at Andreessen Horowitz, and Chris Lehane, chief global affairs officer at OpenAI. Among the members of the network are the American Mission PAC, which supported Chris Gober, and the Think Big PAC, which targeted Alex Bores. Leading the Future is affiliated with the nonprofit Build American AI, which Axios describes as a dark money advocacy "offshoot" operating alongside the super PAC. NBC News states that the network’s efforts are modeled after the pro-cryptocurrency group Fairshake. Leading the Future is led by Zac Moffatt and Josh Vlasto, the latter of whom previously served as an advisor to Fairshake. In response to the creation of Leading the Future, former members of Congress Brad Carson and Chris Stewart co-founded the super PAC network Public First, aiming to counter the group’s influence. In April 2026, an investigation by Model Republic linked Leading the Future to The Wire By Acutus, an automated news website that allegedly used AI agents posing as human journalists to solicit interviews. The site's content was found to closely mirror the PAC's deregulatory policy goals while targeting researchers and advocates skeptical of rapid AI development. In May 2026, Wired revealed that Build American AI used a "dark money" campaign to pay TikTok and Instagram influencers $5,000 per video to promote scripted narratives framing Chinese AI as a "national security threat." According to internal documents and staff at the marketing agency managing the project, the campaign's explicit goal was to "subtly shift public debate" toward the deregulation of AI industries while intentionally avoiding technical discussions regarding AI quality or safety. During the 2026 primary season Leading the Future went on to endorse several candidates in both Democratic and Republican races with several of them going on to win.