Out-of-bag (OOB) error, also called out-of-bag estimate, is a method of measuring the prediction error of random forests, boosted decision trees, and other machine learning models utilizing bootstrap aggregating (bagging). Bagging uses subsampling with replacement to create training samples for the model to learn from. OOB error is the mean prediction error on each training sample xi, using only the trees that did not have xi in their bootstrap sample. Bootstrap aggregating allows one to define an out-of-bag estimate of the prediction performance improvement by evaluating predictions on those observations that were not used in the building of the next base learner. == Out-of-bag dataset == When bootstrap aggregating is performed, two independent sets are created. One set, the bootstrap sample, is the data chosen to be "in-the-bag" by sampling with replacement. The out-of-bag set is all data not chosen in the sampling process. When this process is repeated, such as when building a random forest, many bootstrap samples and OOB sets are created. The OOB sets can be aggregated into one dataset, but each sample is only considered out-of-bag for the trees that do not include it in their bootstrap sample. The picture below shows that for each bag sampled, the data is separated into two groups. This example shows how bagging could be used in the context of diagnosing disease. A set of patients are the original dataset, but each model is trained only by the patients in its bag. The patients in each out-of-bag set can be used to test their respective models. The test would consider whether the model can accurately determine if the patient has the disease. == Calculating out-of-bag error == Since each out-of-bag set is not used to train the model, it is a good test for the performance of the model. The specific calculation of OOB error depends on the implementation of the model, but a general calculation is as follows. Find all models (or trees, in the case of a random forest) that are not trained by the OOB instance. Take the majority vote of these models' result for the OOB instance, compared to the true value of the OOB instance. Compile the OOB error for all instances in the OOB dataset. The bagging process can be customized to fit the needs of a model. To ensure an accurate model, the bootstrap training sample size should be close to that of the original set. Also, the number of iterations (trees) of the model (forest) should be considered to find the true OOB error. The OOB error will stabilize over many iterations so starting with a high number of iterations is a good idea. Shown in the example to the right, the OOB error can be found using the method above once the forest is set up. == Comparison to cross-validation == Out-of-bag error and cross-validation (CV) are different methods of measuring the error estimate of a machine learning model. Over many iterations, the two methods should produce a very similar error estimate. That is, once the OOB error stabilizes, it will converge to the cross-validation (specifically leave-one-out cross-validation) error. The advantage of the OOB method is that it requires less computation and allows one to test the model as it is being trained. == Accuracy and Consistency == Out-of-bag error is used frequently for error estimation within random forests but with the conclusion of a study done by Silke Janitza and Roman Hornung, out-of-bag error has shown to overestimate in settings that include an equal number of observations from all response classes (balanced samples), small sample sizes, a large number of predictor variables, small correlation between predictors, and weak effects.
Metadatabase
Metadatabase is a database model for (1) metadata management, (2) global query of independent databases, and (3) distributed data processing. The word metadatabase is an addition to the dictionary. Originally, metadata was only a common term referring simply to "data about data", such as tags, keywords, and markup headers. However, in this technology, the concept of metadata is extended to also include such data and knowledge representation as information models (e.g., relations, entities-relationships, and objects), application logic (e.g., production rules), and analytic models (e.g., simulation, optimization, and mathematical algorithms). In the case of analytic models, it is also referred to as a Modelbase. These classes of metadata are integrated with some modeling ontology to give rise to a stable set of meta-relations (tables of metadata). Individual models are interpreted as metadata and entered into these tables. As such, models are inserted, retrieved, updated, and deleted in the same manner as ordinary data do in an ordinary (relational) database. Users will also formulate global queries and requests for processing of local databases through the Metadatabase, using the globally integrated metadata. The Metadatabase structure can be implemented in any open technology for relational databases. == Significance == The Metadatabase technology is developed at Rensselaer Polytechnic Institute at Troy, New York, by a group of faculty and students (see the references at the end of the article), starting in late 1980s. Its main contribution includes the extension of the concept of metadata and metadata management, and the original approach of designing a database for metadata applications. These conceptual results continue to motivate new research and new applications. At the level of particular design, its openness and scalability is tied to that of the particular ontology proposed: It requires reverse-representation of the application models in order to save them into the meta-relations. In theory, the ontology is neutral, and it has been proven in some industrial applications. However, it needs more development to establish it for the field as an open technology. The requirement of reverse-representation is common to any global information integration technology. A way to facilitate it in the Metadatabase approach is to distribute a core portion of it at each local site, to allow for peer-to-peer translation on the fly.
Script theory
Script theory is a psychological theory which posits that human behaviour largely falls into patterns called scripts because they function the way a written script does, by providing a program for action. Silvan Tomkins created script theory as a further development of his affect theory, which regards human beings' emotional responses to stimuli as falling into categories called affects: he noticed that the purely biological response of affect may be followed by awareness and by what we cognitively do in terms of acting on that affect, so that more was needed to produce a complete explanation of what he called human being theory. These scripts fall under the larger cognitive concept called schemas, which are organized chunks of information. A schema is a script that has the potential to lack the specificity of the sequence of events. A schema becomes a script is when there is an ordering to it that requires action, such as the process of starting a car (get in, put on the seatbelt, turn the car on, release the emergency brake, etc.). In script theory, the basic unit of analysis is called a scene, defined as a sequence of events linked by the affects triggered during the experience of those events. Tomkins recognized that affective experiences fall into patterns that we may group together according to criteria, such as the types of persons and places involved and the degree of intensity of the effect experienced—the patterns of which constitute scripts that inform behavior in an effort to maximize positive affect and to minimize negative affect. == In artificial intelligence == Roger Schank, Robert P. Abelson and their research group extended Tomkins' scripts and used them in early artificial intelligence work as a method of representing procedural knowledge. In their work, scripts are very much like frames, except the values that fill the slots must be ordered. A script is a structured representation describing a stereotyped sequence of events in a particular context. Scripts are used in natural-language understanding systems to organize a knowledge base in terms of the situations that the system should understand. The classic example of a script involves the typical sequence of events that occur when a person drinks in a restaurant: finding a seat, reading the menu, ordering drinks from the waitstaff, etc. In the script form, these would be decomposed into conceptual transitions, such as MTRANS and PTRANS, which refer to mental transitions [of information] and physical transitions [of things]. Schank, Abelson and their colleagues tackled some of the most difficult problems in artificial intelligence (i.e., story understanding), but ultimately their line of work ended without tangible success. This type of work received little attention after the 1980s, but became very influential in later knowledge representation techniques, such as case-based reasoning. Scripts can be inflexible. To deal with inflexibility, smaller modules called memory organization packets (MOP) can be combined in a way that is appropriate for the situation.
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
Retrieval-based Voice Conversion
Retrieval-based Voice Conversion (RVC) is an open source voice conversion AI algorithm that enables realistic speech-to-speech transformations, accurately preserving the intonation and audio characteristics of the original speaker. == Overview == In contrast to text-to-speech systems such as ElevenLabs, RVC differs by providing speech-to-speech outputs instead. It maintains the modulation, timbre and vocal attributes of the original speaker, making it suitable for applications where emotional tone is crucial. The algorithm enables both pre-processed and real-time voice conversion with low latency. This real-time capability marks a significant advancement over previous AI voice conversion technologies, such as So-vits SVC. Its speed and accuracy have led many to note that its generated voices sound near-indistinguishable from "real life", provided that sufficient computational specifications and resources (e.g., a powerful GPU and ample RAM) are available when running it locally and that a high-quality voice model is used. == Technical foundation == Retrieval-based Voice Conversion (RVC) utilizes a hybrid approach that integrates feature extraction with retrieval-based synthesis. Instead of directly mapping source speaker features to the target speaker using statistical models, RVC retrieves relevant segments from a target speech database, aiming to enhance the naturalness and speaker fidelity of the converted speech. At a high level, the RVC system typically comprises three main components: (1) a content feature extractor, such as a phonetic posteriorgram (PPG) encoder or self-supervised models like HuBERT; (2) a vector retrieval module that searches a target voice database for the most similar speech units; and (3) a vocoder or neural decoder that synthesizes waveform output from the retrieved representations. The retrieval-based paradigm aims to mitigate the oversmoothing effect commonly observed in fully neural sequence-to-sequence models, potentially leading to more expressive and natural-sounding speech. Furthermore, with the incorporation of high-dimensional embeddings and k-nearest-neighbor search algorithms, the model can perform efficient matching across large-scale databases without significant computational overhead. Recent RVC frameworks have incorporated adversarial learning strategies and GAN-based vocoders, such as HiFi-GAN, to enhance synthesis quality. These integrations have been shown to produce clearer harmonics and reduce reconstruction errors. == Research developments == Research on RVC has recently explored the use of self-supervised learning (SSL) encoders such as wav2vec 2.0 and HuBERT to replace hand-engineered features like MFCCs. These encoders improve content preservation, especially when source and target speakers have dissimilar speaking styles or accents. Moreover, modern RVC models leverage vector quantization methods to discretize the acoustic space, improving both synthesis accuracy and generalization across unseen speakers. For example, retrieval-augmented VQ models can condition the synthesis stage on quantized speech tokens, which enhances controllability and style transfer. Despite its strengths, RVC still faces limitations related to database coverage, especially in real-time or few-shot settings. Inadequate diversity in the target voice corpus may lead to suboptimal retrieval or unnatural prosody. These advances demonstrate the viability of RVC as a strong alternative to conventional deep learning VC systems, balancing both flexibility and efficiency in diverse voice synthesis applications. == Training process == The training pipeline for retrieval-based voice conversion typically includes a preprocessing step where the target speaker's dataset is segmented and normalized. A pitch extractor such as librosa or DDSP-DDC may be used to obtain fundamental frequency (F0) features. During training, the model learns to map content features from the source speaker to the acoustic representation of the target speaker while maintaining pitch and prosody. The training objective often combines reconstruction loss with feature consistency loss across intermediate layers, and may incorporate cycle consistency loss to preserve speaker identity. Fine-tuning on small datasets is feasible due to the use of pre-trained models, particularly for the SSL encoder and content extractor components. This approach allows transfer learning to be applied effectively, enabling the model to converge faster and generalize better to unseen inputs. Most open implementations support batch training, gradient accumulation, and mixed-precision acceleration (e.g., FP16), especially when utilizing NVIDIA CUDA-enabled GPUs. == Real-time deployment == RVC systems can be deployed in real-time scenarios through WebUI interfaces and streaming audio frameworks. Optimizations include converting the inference graph to ONNX or TensorRT formats, reducing latency. Audio buffers are typically processed in chunks of 0.2–0.5 seconds to ensure minimal delay and seamless conversion. Cross-platform compatibility with tools such as OBS Studio and Voicemeeter enables integration into live streaming, video production, or virtual avatar environments. == Applications and concerns == The technology enables voice changing and mimicry, allowing users to create accurate models of others using only a negligible amount of minutes of clear audio samples. These voice models can be saved as .pth (PyTorch) files. While this capability facilitates numerous creative applications, it has also raised concerns about potential misuse as deepfake software for identity theft and malicious impersonation through voice calls. == Ethical and legal considerations == As with other deep generative models, the rise of RVC technology has led to increasing debate about copyright, consent, and authorship. While some jurisdictions may allow parody or fair use in creative contexts, impersonating living individuals without permission may infringe upon privacy and likeness rights. As a result, some platforms have begun issuing takedown notices against AI-generated voice content that closely mimics celebrities or musicians. === In pop culture === RVC inference has been used to create realistic depictions of song covers, such as replacing original vocals with characters like Twilight Sparkle and Mordecai to have them sing duets of popular music like "Airplanes" and "Somebody That I Used to Know." These AI-generated covers, which can sound strikingly similar to the voice imitated, have gained popularity on platforms like YouTube as humorous memes.
Necrobotics
Necrobotics is the practice of using biotic materials (or dead organisms) as robotic components. Necrobotics can serve as an alternative to mechanical components that are difficult to manufacture by using biological components designed by natural selection in order to exploit the highly developed selective design implemented in biological lifeforms via the process of evolution. In July 2022, researchers in the Preston Innovation Lab at Rice University in Houston, Texas published a paper in Advanced Science introducing the concept and demonstrating its capability by repurposing dead spiders as robotic grippers and applying pressurized air to activate their gripping arms. In April 2025 researchers at Shinshu University created a “bio-hybrid drone” using silk-worm moth antennae to detect the source of a smell. In November 2025 researchers at McGill University demonstrated the use of a mosquito proboscis as a fine nozzle in experimental 3D printing. Necrobotics utilizes the spider's organic hydraulic system and their compact legs to create an efficient and simple gripper system. The necrobotic spider gripper is capable of lifting small and light objects, thereby serving as an alternative to complex and costly small mechanical grippers. == Background == The main appeal of the spider's body in necrobotics is its compact leg mechanism and use of hydraulic pressure. The spider's anatomy utilizes a simple hydraulic (fluid) pressure system. Spider legs have flexor muscles that naturally constrict their legs when relaxed. A force is required to straighten and extend their legs, which spiders accomplish by pumping hemolymph fluid (blood) through their joints as a means of hydraulic pressure. It takes no external power to curl their legs due to their flexor muscles' natural curled state. In July 2022, researchers in the Preston Innovation Lab at Rice University published a paper detailing their experiments with the gripper. Although dead spiders no longer produce hemolymph, Te Faye Yap (lead author and mechanical engineering graduate) found that pumping air through a needle into the spider's cephalothorax (main body) accomplishes the same results as hemolymph. The original hydraulic (fluid) system is essentially converted into a pneumatic (air) system. == Fabrication == Obtain a spider Euthanize the spider using a cold temperature of around -4°C for 5-7 days Insert a 25 gauge hypodermic needle into the spider's cephalothorax (main body) Apply glue around the needle to form a seal and allow it to dry Connect a syringe or pump to the needle Extend the spider's legs by pumping air in == Testing and Data == === Internal Force Versus Gripping Force === The typical pressure in a resting spider's legs ranges from 4 kPa to 6.1 kPa. Researchers extended the legs by increasing the spider's internal pressure to 5.5 kPa. Pumping air into the body increases the internal pressure, causing the legs to expand. Pumping air out of the body decreases internal pressure, causing the legs to contract due to their flexor leg muscles. When the internal pressure decreases to 0 kPa, the gripper would be fully closed, allowing for the gripper to grasp objects. This action demonstrates that as internal pressure decreases, the gripping force increases. Inversely, when internal pressure increases, the gripping force decreases. By gripping individual weighted acetate beads, it is found that the necrobotic gripper achieves a maximum gripping force of 0.35 milinewtons. === Spider Weight Versus Gripping Force === To estimate the gripping forces of smaller and larger spiders, researchers created a plot to predict the gripping force relative to the size of the spider. The wolf spider's body weight is relatively equal to the gripping force of its legs. The mass of the gripper is 33.5 mg and can lift 1.3 times its body weight (43.6 mg or 0.35 mN). However, with larger spiders, the gripping force relative to body weight decreases. For example, a 200-gram goliath birdeater is predicted to lift 10% of its weight (20 grams or 196 mN). Though there is an inverse relationship between spider mass and gripping force, larger spiders exert greater gripping forces than smaller spiders. === Gripper Lifespan === The necrobotic gripper's functionality is entirely reliant on the structural integrity of the spider. If the spider were to break down easily and frequently, the gripper would not be practical. Using cyclic testing, a series of repeated actions, it is found that the necrobotic gripper can actuate 700 to 1000 times. After 1000 cycles, cracks begin forming on the membrane of the leg joints due to dehydration. Weakened and decomposing joints lead to frequent breakage and replacement, thereby serving as an obstacle in applying necrobotics to real-world scenarios. One theorized fix to this issue is applying beeswax or a lubricant to the joints. Researchers found that over 10 days, the mass of an uncoated spider decreased 17 times more than the mass of a spider coated with beeswax. Lubricating joints combats dehydration and slows the loss of organic material. == Constraints == With the usage of organic material, there is a higher chance of the component decomposing and breaking down as opposed to traditional mechanical systems. There may be additional work and management required to replace these grippers if they fail. Additionally, organic inconsistencies with the spiders will yield inaccurate results. Not all wolf spiders develop the same, so gripping force and leg contraction can vary between grippers. There are moral implications behind euthanizing spiders for robotics. The ethical boundaries that necrobotics push in the pursuit of biohybrid systems raise concerns, as opponents say it may lead to the hybridization of mammals and is intrusive to nature. Proponents respond that repurposing dead animals has been human practice for millennia and that necrobotics should be pursued to advance science.
The Synthetic Party
Det Syntetiske Parti (English: The Synthetic Party) is a political party driven by artificial intelligence (AI), founded in May 2022 in Denmark. The party aims to represent non-voters and fringe political parties while raising awareness of AI's societal role and exploring how it can be integrated into democratic processes. == Founder == The founder and continuous party secretary is Asker Bryld Staunæs, a philosopher from Aarhus University and a conceptual artist. == Main goal == The political goals have been machine learned from texts by Danish fringe parties since 1970 and represent the 20 percent of Danes who do not vote in the election. The party is synthetic; as such, many of the policies, such as universal basic income, can be contradictory to one another. == International collaborations == The Synthetic Party has signed bilateral collaboration agreements with the Finnish AI Party and AI Party (Japan) concerning the development of a global project created around artificial intelligence and politics These collaborations were expanded during the exhibition-event Synthetic Summit (28 February – 13 April 2025) at Kunsthal Aarhus, curated by Computer Lars (Asker Bryld Staunæs) on behalf of The Synthetic Party. The summit staged parliamentary scenography, performances, and computer sculptures, and invited both the public and policymakers to encounter an international line-up of AI parties and virtual politicians. Aarhus University described the event as part of Staunæs's PhD research, positioning it as an international top-meeting of virtual politicians. Participants included the Japanese AI Party, the Swedish AI Party, the Finnish AI Party, Parker Politics (New Zealand), Lex AI (Brazil), the Simiyya collective (Egypt/Sweden), the Synthetic Party (Denmark), and Wiktoria Cukt 2.0 (Poland). As part of the summit, the one-day AI World Congress was held on 1 March 2025, structured as a performative assembly where each group participated through both machinic agents and human delegates. Sessions were chaired by participating parties, with Computer Lars delivering the opening presentation. Throughout the day, contributions were synthesized into a common record using a shared AI system. The congress concluded with the adoption of the Synthetic Summit Resolution, a collectively authored treaty of algorithmic governance. Signatories included Floor Kist and Nick Gerritsen (Parker Politics), Michihito Matsuda (Japanese AI Party), Emma Bexell (Swedish AI Party), Samee Haapa (Finnish AI Party), Pedro Markun (Lex AI), Kristian T. Madsen and Michael Birkebæk Jensen (NextGen Democracy / DemAI), Asker Bryld Staunæs, Benjamin Asger Krog Møller, Caroline Sofie Axelsson, Life with Artificials (The Synthetic Party), and Piotr Wyrzykowski (Wiktoria Cukt 2.0).